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BAEDEKER'S  GUIDE  BOOKS. 

Latest  Editions  a/ways  on  hand  and  mailed  to  any  address  on  receipt 

of  price.     Illustrated  with  numerous  Maps,  Plans,  Panoramas, 

and  Views.     12mo,  Cloth.     AI,I,  PRICES  N:^T. 

UNITED    STATES,    with    an    Excursion    into    Mexico,    with    25    Mai)« 

and  35  Plans, $3.00 

NORD  AMERIICA,  Die  VEREiNiCiTEN  Staaten  kebst  einem  Atisflug  nach 

Mexiko,  niit  25  Karten,  32  I'liinen,  uud  4  Grundrissen,        .        .        .         $3.00 

CANADA,    WITH    Newfoundland,    and    an    ExcuasioN  to  Alaska,  with   10 

Maps  and  7  Plans, $1.50 

ALPS  (EASTERNf),   inclddinq   the  Bavarian  Highlands.  Tyrol,  Salzburg, 

etc.,  with  53  Maps,  10  I'lans,  and  7  Panoramas, §3.00 

AUSTRI.\,    including    Hungary,    Transylvania,    Dalmatia,    and   Bosnia, 

with  30  Maps  and  36  Plans $2.40 

BELaiUM  AND  HOLLAND,  with  14  Maps  and  22  Plans,  .        .        ...        $1.80 

BERLIN  AND  irs  Environs,  with  4  Maps  and  10  Plans $0.00 

EGYPT,  with  23  Maps,  66  Plans,  and  59  Views  and  Vignettes.  .  $4.50 
FRANCE    (NORTHERN),    from    Belgium    and   the   Englifh    Channel   to 

the  Loire,   excluding   Paris    and  its   Environs,   with   10  Maps  and  34 

Plans $2.10 

FRANCE  (SOUTHERN),    including  Corsica,  with  30  Maps,  37  Plans,  and  a 

Panorama $2.70 

GERMANY  (NORTHERN),  with  40  Maps  and  74  PInn.s,    ....        $2.40 

GERMANY  (SOUTHERN),  with  22  Maps  and  16  rian.= $1.80 

GERMANY    (RHINE    from    ROTTERDAM   to   CONSTANCE),   with  45  Maps 

and  26  Plans, $2.10 

GRB.iT  BRITAIN,  with  22  Maps  and  58  Plans  and  a  Panorama,  .  .  $3.00 
GREECE,  with  8  Maps,  15  Plans,  and  a  Panorama  of  Athens,  .  .  .  $2.40 
ITALY,  from  the  Alps  to  Naples,  with  26  Maps  and  44  Plans  .  .  $2.40 
ITALY    (NORTHERN),     including      LEGHORN,     FLORENCE,     RAVENNA, 

AND  Routes  through   Switzerland  and  Austria,  with  30  Maps  and  39 

Plans $2.40 

ITALY   (CENTRAL)    and    ROME,     with     14    Maps,    40  Plans,   a  Panorama  of 

Rome,  and  Views  of  the  Forum  Romanum  and  the  Colosseum,  .  .  $2.25 
ITALY  (SOUTHERN)  and  SICILY,  with   Excursions  to  the  Lipari  Islands. 

Tunis,  Sardinia,  Malta,  \sd  Cokfu,  with  27  Maps  and  24  Plans,  .  $1.^0 
LONDON  and  its  ENVIRONS,  with  4  Maps  and  24  Plans,  .  .  .  $1.80 
NORWAY,    SWEDEN,    and     DENMARK,    with     37     Maps,    22    Plans,    and    3 

Panoramas, $2.40 

PALESTINE    and    SYRIA,     with    20    Maps,    52    Plans,    and    a    Panorama    of 

Jerusalem,         . $3.60 

PARIS    AND   ENTVIRONS,     with    Routes    from    London  to  Paris,  with  13 

Maps  and  38  Plans, $1-^0 

SPAIN  AND  PORTUGAL,  with  7  Maps  and  47  Plans $4.80 

SWITZERLAND    and  the  adjacent  Portions  op  Italy,    Savoy,   and  the 

Tyrol,  with  65  Maps,  14  Plans,  and  11  Panoramas $-.40 

TRAVELLERS     MANUAL    OF     CONVERSATION,    in     English,     German^ 

French,  and  Italian,  with  Vocabulary,  etc $0.90 

CHARLES  SCRIBNER'S  SONS,  153-157  Fifth  Ave.,  New  York, 

Sole  Agents  for  the  United  States, 


NORTHERN  ITALY. 


MONEY-TABLE. 
(Comp.  p.  xi.) 

Approximate  Equivalents. 


Italian. 

American. 

English 

German. 

AuBt 

rian. 

Lire 

(Fret.) 

Cent. 

Doll. 

Cts. 

X.    S. 

D. 

Mk.   1  P/g. 

K 

h 

_ 

5 



1 





'h 



4 



12 



25 



5 



— 

2V2 



20 



24 



50 



10 

— 



5 



40 



48 



75 



15 





7'/* 



60 



72 

1 



20 

— 



94« 



80 



96 

2 





40 

— 

1 

Th 

1 

60 

1 

92 

3 





60 



2 

5 

2 

40 

2 

88 

4 





80 

— 

3 

2>/2 

3 

20 

3 

84 

5 



— 



4 

4 



4 

30 

6 



20 



4 

9V4 

4 

80 

5 

76 

7 



40 

— 

5 

7'/2 

5 

60 

6 

72 

8 



60 



6 

5 

6 

40 

7 

68 

9 



80 



7 

2V2 

7 

20 

8 

64 

10 



2 





8 

8 

10 

9 

60 

11 



2 

20 



8 

9^4 

8 

80 

10 

56 

12 



2 

40 



9 

V/; 

9 

60 

11 

52 

13 



2 

60 



10 

5 

10 

40 

12 

48 

14 



2 

80 



11 

2'A 

11 

20 

13 

44 

15 



3 





12 

12 



14 

40 

16 



3 

20 



12 

^h 

12 

80 

15 

36 

17 



3 

40 



13 

Vh 

13 

60 

16 

32 

18 



3 

60 



14 

5 

14 

40 

17 

28 

19 



3 

80 



15 

2V2 

15 

20 

18 

24 

20 



4 





16 

16 

20 

19 

20 

25 



5 



1 

— 

— 

20 

40 

24 

— 

100 

— 

20 

— 

4 

— 

— 

81 

60 

96 

— 

Distances.  Italy,  like  most  of  the  other  European  states,  has  adopted 
the  French  metric  system.  One  kilometre  is  equal  to  0.62138,  or  nearly 
Vs  ths,  of  an  English  mile  (8  kil.  =  5  M.). 


The  Italian  time  is  that  of  Central  Europe.  In  official  dealings  the 
old-fashioned  Italian  way  of  reckoning  the  hours  from  1  to  24  has  again 
been  introduced.    Thus,  allt  tredid  is  1  p.m.,  alle  venti  8  p.m. 


I 


\,ov.^"  •>'    OK.NVn..,     ■^;^?^ 


^'*^-  ALTA  ITALIA 

■  PARTt    OCCIOENTALE' 


-5 


ITALY 


HANDBOOK  FOR  TUAVELLERS 

BY 

KARL  BAEDEKER 


FIRST   PART: 

NORTHERN  ITALY 

INCLUDING 

LEGHORN,  PLOEENOE,  RAVENNA, 

AND 

ROUTES  THROUGH  SWITZERLAND  AND  AUSTRIA 

With  30  Maps,  40  Plans,  and  a.  Panokama 
THIRTEENTH  REMODELLED  EDITION 


LEIPSIC:  KARL  BAEDEKER,  PUBLISHER 

LONDON:  DULAU  AND  CO.,  37  SOHO  SQUARE,  W. 

NEW  YORK:    CHARLES   SCRIBNER'S  SONS,    153/157  FIFTH  AVENUE 

1906 

,  All  righli  reterred 


'Go,  little  book,  Ciod  send  thee  good  passage, 
And  specially  let  this  be  thy  prayere: 
Unto  them  all  that  thee  will  read  or  hear, 
"Where  thou  art  wrong,  after  their  help  to  call, 
Thee  to  correct  in  any  part  or  all.' 


•  ^;^ 

PREFACE.  fe!M 
^'^^  ' 

Ihe  objects  of  the  Handbook  for  Italy,  which  consists  of 
three  volumes,  each  complete  in  itself,  are  to  supply  the  trav- 
eller with  some  information  regarding  the  culture  and  art  of 
the  people  he  is  about  to  visit,  as  well  as  regarding  the  nat- 
ural features  of  the  country,  to  render  him  as  independent  as 
possible  of  the  services  of  guides  and  valets-de-place,  to  pro- 
tect him  against  extortion,  and  in  every  way  to  aid  him  in 
deriving  enjoyment  and  instruction  from  his  tour  in  one  of 
the  most  fascinating  countries  in  the  world. 

The  Handbook  is  founded  on  the  Editor's  personal  ac- 
quaintance with  the  places  described,  most  of  which  he  has 
repeatedly  and  carefully  explored.  As,  however,  changes 
are  constantly  taking  place,  he  will  highly  appreciate  any 
communications  with  which  travellers  may  kindly  favour 
him,  if  the  result  of  their  own  observation.  The  information 
already  received  from  correspondents ,  which  he  gratefully 
acknowledges ,  has  in  many  cases  proved  most  serviceable. 

The  present  volume,  corresponding  to  the  seventeenth  Ger- 
man edition,  has,  like  its  predecessor,  been  thoroughly  revised 
and  considerably  augmented.  Its  contents  have  been  divided 
into  groups  of  routes  arranged  historically  and  geographically 
(Piedmont ,  Liguria ,  Lombard]/ ,  Venetia  ,  The  Emilia ,  and 
Tuscan)/),  each  group  being  provided  with  a  prefatory  outline 
of  the  history  of  the  district.  Each  section  is  also  prefaced 
with  a  list  of  the  routes  it  contains,  and  may  be  removed 
from  the  volume  and  used  separately  if  desired. 

The  introductorj'^  article  on  Art,  which  has  special  re- 
ference to  Northern  Italy  and  Florence,  and  the  art-historical 
notices  prefixed  to  the  descriptions  of  the  larger  towns  and 
principal  picture-galleries  are  due  to  the  late  Professor 
Springer,  of  Leipzig.  In  the  descriptions  of  individual  pic- 
tures the  works  oi  More  Hi,  Crowe  and  Cavalcaselle,  andJBurck- 
hardt  have  been  laid  extensively  under  contribution,  and  also 
occasionally  those  of  Ruskin  and  others. 


vl  PREFACE. 

Heights  are  given  in  English  feet  (1  Engl.  ft.  =  0,3048 
m^tre),  and  Distances  in  English  miles  (comp.  p.  ii).  The 
Populations  given  are  those  of  the  separate  towns  and  vil- 
lages (popolazione  agglomerata)  according  to  the  census  of  1901. 

Hotels  (comp.  p.  xix).  Besides  the  modern  palatial  and 
expensive  establishments  the  Handbook  also  mentions  a  se- 
lection of  modest,  old-fashioned  inns,  which  not  unfrequently 
afford  good  accommodation  at  moderate  charges.  The  asterisks 
indicate  those  hotels  which  the  Editor  has  reason  to  believe 
from  his  own  experience,  as  well  as  from  information  supplied 
by  numerous  travellers,  to  be  respectable,  clean,  reasonable, 
and  fairly  well  provided  with  the  comforts  and  conveniences 
expected  in  an  up-to-date  establishment.  Houses  of  a  more 
primitive  character,  when  good  of  their  class,  are  described  as 
'fair'  or  'very  fair'.  At  the  same  time  the  Editor  does  not  doubt 
that  comfortable  quarters  may  occasionally  be  obtained  at  inns 
which  he  has  not  recommended  or  even  mentioned.  The 
average  charges  are  stated  in  accordance  with  the  Editor's 
own  experience,  or  from  the  bills  furnished  to  him  by  trav- 
ellers. Although  changes  frequently  take  place,  and  prices 
generally  have  an  upward  tendency,  the  approximate  state- 
ment of  these  items  which  is  thus  supplied  will  at  least  enable 
the  traveller  to  form  an  estimate  of  his  probable  expenditure. 

To  hotel-proprietors ,  tradesmen ,  and  others  the  Editor 
begs  to  intimate  that  a  character  for  fair  dealing  and  courtesy 
towards  travellers  is  the  sole  passport  to  his  commendation, 
and  that  advertisements  of  every  kind  are  strictly  excluded 
from  his  Handbooks.  Hotel-keepers  are  also  warned  against 
persons  representing  themselves  as  agents  for  Baedeker's 
Handbooks. 


CONTENTS. 


Page 

Practical  Introdnction xi 

History  of  Art xxxi 

Glossary  of  Technical  Terms Lxiv 

I.   Boutes  to  Italy. 
Route 

1.  From  Paris  (Oentva)  to  Turin  by  Mont  Cenis 1 

2.  From  Brigue  (Lausanne)  to  Milan  via  Arona.     Slmplon 

Railway 3 

3.  From  Lucerne  (Bale)  to  Lugano,  Como,  and  Milan.    St. 

Gotthard  Railway 6 

4.  From  Thusis  to  Colico  over  the  Spliigen 17 

5.  From  Innshruck  to  Verona  hy  the  Brenner 19 

6.  From  Vienna  to  Venice  via  Pontebba 23 

II.  Piedmont 25 

7.  Turin      27 

8.  The  Alpine  Valleys  to  the  West  of  Turin 42 

9.  From  Turin  to  Ventimiglla  via  Cuneo  and  Tenda  ....  45 

10.  From  Cuneo  to  Bastia  (Turin,  Savona) 49 

11.  From  Turin  to  Genoa 49 

12.  From  Turin  to  Aosta  and  Courmayeur 54 

13.  From  Aosta  to  the  Qraian  Alps 60 

14.  From  Santhia  (Turin)  to  Biella 64 

15.  From  Turin  to  Arena  via  Santhik  and  Borgomanero  ...  65 

16.  From  Turin  to  Milan  via  Novara 65 

17.  From  Domodossola  to  Novara.    Lake  of  Orta.    From  Orta 

to  Varallo 69 

III.  Liguria 73 

18.  Genoa 75 

19.  From  Genoa  to  Ventimiglia.    Riviera  di  Ponente    ....  94 

20.  From  Genoa  to  Pisa.    Riviera  di  Levante 107 

21.  The  Apuan  Alps 123 

IV.  Lombardy      125 

22.  Milan 128 

23.  From  Milan  to  Como  via  Saronno 164 

24.  From  Milan  to  Como  and  Lecco  (Colico)  via  Monza  .    .    .  165 

25.  From  Milan  to  Bellagio.    The  Brianza 171 

26.  Lake  of  Como 173 

27.  From  Menagglo  to  Lugano  and  Luino 182 

28.  From  Milan  to  Porto  Ceresio  vijl  Gallarate  and  Varese  .    .  185 


viii  CONTENTS. 

Route  Page 

29.  From  Milan  to  Laveno  via  Saronno  and  Varese    ....  187 

30.  From  Bellinzona  to  Genoa  via  Alessandria 189 

31.  Lago  Maggiore 190 

32.  From  Milan  to  Genoa  via  Pavia  and  Voghera 202 

33.  From  Milan  to  Mantua  via  Cremona 206 

34.  From  Milan  to  Bergamo 209 

35.  The  Bergamasque  Alps 213 

36.  From  Lecco  to  Brescia  via  Bergamo 216 

37.  From  Milan  to  Verona  via  Brescia 217 

38.  Brescia 219 

39.  The  Brescian  Alps 225 

40.  The  Lago  di  Garda      229 

V.  Venetia 241 

41.  Verona 243 

42.  From  Verona  to  Mantua  and  Modena 256 

43.  From  Verona  to  Venice.    Vicenza 264 

44.  Padua 270 

45.  From  Vicenza  to  Treviso 279 

46.  From  Padna  to  Bassano 280 

47.  Venice 281 

48.  From  Venice  to  Trieste      345 

VI.  The  Emilia 366 

49.  From  Turin  to  Piacenza  via  Alessandria ,  367 

60.  From  Milan  to  Bologna  via  Parma  and  Modena.  Piacenza. 

Reggio 367 

51.  Parma 364 

52.  From  Parma  (Milan)  to  Sarzana  (Spezia,  Pisa)    ....  370 

53.  Modena 372 

54.  From  Venice  to  Bologna  via  Padua  and  Ferrara  ....  376 

55.  Ferrara 379 

56.  Bologna 386 

57.  From  Bologna  to  Florence  via  Pistoia 407 

58.  From  Bologna  to  Ravenna 408 

59.  From  Ravenna  (or  Bologna)  to  Florence  via  Faenza.    .    .  420 

VII.  Tuscany 423 

GO.  Pisa 426 

61.  From  Pisa  to  Leghorn 437 

62.  From  (Genoa)  Pisa  to  Florence  via  Empoli 440 

63.  From  Pisa  to  Florence  via  Lucca  and  Pistoia 441 

64.  Florence 457 

65.  Environs  of  Florence  .    .        548 

List  of  Artists 563 

Index 571 


MAPS  AND  PLANS. 


Maps. 

1.  Gbnebal  Map  of  Noethebn  Italy  (1:1,350,000),  Western  Half  :  before 

the  title-page. 

2.  General  Map  of  Northern  Italt,  Eastern  Half:  after  the  Index. 

3.  Environs  of  Lugano  (1:150,000):  p.  12. 

4.  Eastern  Environs  of  Turin  (1:66,200):  p.  40. 

5.  Graian  Alps  (1:250,000):  p.  60. 

a.  Environs  of  Genoa  (1:1011.000):  p.  92. 

7,  8.  Riviera  di  Ponente  from  Genoa  to  Ventimiglia  (1:500,000):  pp.  96, 98. 

9.  Environs  of  Bordighera  (1:50.0001:  p.  104. 

10.  Riviera  di  Levante  from  Genoa  to  Spezia  (1:500,000):  p.  107. 

11.  Environs  of  Rapallo  {Recco-Chiavari;  1:100,000):  p.  112. 

12.  Environs  of  Sestri-Levante  (1:100  000):  p.  114. 

13.  Environs  of  Spezia  (1:100,000):  p.  116. 

l-l.  Environs  of  the  Certosa  di  Pavia  (1:86,400):  p.  lCi2. 

15.  Railway  Map  of  the  Environs  of  Milan  (1:500,000):  p.  164. 

16.  Environs  of  Como  (1:28.000):  p.  107. 

17.  Lakes  of  Como  and  Lugano  (1 :  250,(XIO) :  p.  172. 

18.  Lago  Maggioee  and  Lago  d'Orta  (1:250,000):  p.  190. 

19.  Environs  of  Locarno  (1 :  75,000) :  p.  192. 

20.  Environs  of  Pallanza  (1 :  65,000) :  p.  197. 

21.  Environs  of  Baveno  and  Steesa  (1:65,000):  p.  200. 

22.  Lago  di  Garda  (1:500,000):  p.  230. 

23.  EN^'IRONS  of  Gardone-Riviera  (1:75,000):  p.  232. 

24.  Environs  of  Riva  and  Arco  (1:75,000):  p.  233. 

25.  The  Lido  at  Venice  (1:12,500):  p.  312. 

26.  Environs  of  Bologna  (1:86,400):  p.  406. 

27.  Environs  of  Ravenna  (1:86,400):  p.  418. 

28.  Environs  of  Florence  (1:55,000):  p.  548. 

29.  Environs  of  Vallombrosa  and  Camaldoli  (1 :  280,(X)0)  :  p.  558. 

30.  Key  Map  of  Italy  (1 : 7,000,000) :  at  the  end  of  the  Handbook. 


1.  Bergamo 

2.  Bologna 

3.  Bordigher 

4.  Brescia  . 

5.  Cremona 

6.  Ferrara 

7.  Florence 

8.  Genoa.  . 

9.  Leghorn 

10.  Lucca 

11.  Lugano  . 


Page 
210 
386 
104 
219 
20G 
379 
456 
74 
4.38 
442 


Flans  of  Towns. 

Page 


12.  Mantua  . 

13.  Milan  .  . 

14.  Modena  . 

15.  NOVARA  . 

16.  Padua. 


257 
128 
372 
67 
270 
17.  Parma 3*34 


18.  Pavia  .    . 

19.  Piacenza 

20.  Pisa.   .    . 

21.  Pistoia  . 

22.  Ravenna 


202 

358 

426 

.  450 

.  409 


23.  Reggio   (with 
environs) 

24.  San  Remo 

25.  Treviso  . 

26.  Turin.    . 

27.  TJdine  .   . 

28.  Venice  (with 
environs) 

29.  Verona  . 

30.  ViCENZA  . 


Page 

362 
100 
345 
26 
349 


281 
242 
266 


Ground  Plans. 


Page 

1.  Brera  Gallery,  at  Milan  .   .  140 

2.  Castkllo,  at  Milan 148 

3.  Ckrtosa  di  Pavia 162 

4.  Church  of  St.  Mark,  at  Venice  290 

5.  Doges''  Palace,  at  Venice  .    .  297 


Page 

6.  Academy,  at  Venice 307 

7.  Academy,  at  Bologna    ....  402 

8.  9.  Uffizi  Gallery,  at  Florence  487 
10.  Arch.t.ological  Museum  ,   at 

Florence 612,  514 


Panorama  from  the  Mole  AnionelHana  at  Twin,  p.  41. 


M.  =  Engl.  mile, 
ft.  =  Engl.  foot, 
kil.   =  kildmetre. 
kg.  =  kilogramme. 
lir.  =  hour. 


Abbreviations. 

min.   =  minute. 

Alb.  =  Albergo  (hotel). 

omn.  =  omnibus. 

carr.  =  carriage. 

If.  =  north,  northwards,  northern. 


CHRONOLOGICAL  TABLE. 


S.  =  south,  etc.    (also  snpper). 

B.  =  east,  etc. 

W.  =  west,  etc. 

R.  =  room  (includiog  light  and 

attendance),  route. 
B.  =  breakfast. 
D.  =  dinner. 
A.  =  attendance. 
L.  =  light. 
d6j.  =  dijeuner  'a  la  fourchette'. 


rfmts.  =  refreshments, 
pens.  =  pension  (»'.€.  board  and  lodg- 
ing), 
fr.  =  franc  (Ital.  lira), 
c  =  centime  (Ital.  centesimo). 
k.  =  Krone  (Austrian  currency). 
h.  =  Heller  (Austrian  currency'* 
ca.  =  circa  (about), 
comp.  =  compare, 
carr.   =  carriage. 


The  letter  d  with  a  date,  after  the  name  of  a  person,  indicates  the 
year  of  his  death.  The  number  prefixed  to  the  name  of  a  place  on  a  rail- 
way or  liighroad  indicates  its  distance  in  English  miles  from  the  starting- 
point  of  the  route  or  sub-route.  The  number  of  feet  given  after  the  name 
of  a  place  shows  its  height  above  the  sea-level. 

Asterisks  are  used  as  marks  of  commendation. 


Clironological  Table  of  Becent  Events. 

1846.  June  16.  Election  of  Pius  IX. 

1&48.  March  18.  Insurrection  at  Milan.  —  March  22.  Charles  Albert  enters 
Milan.  Republic  proclaimed  at  Venice.  —  May  15.  Insurrection  at 
Naples  quelled  by  Ferdinand  II.  ('Re  Bomba').  —  May  30.  Radetzky 
defeated  at  Goito;  capitulation  of  Peschiera.  —  July  25.  Radetzky's 
victory  at  Custozza.  —  Aug.  6.  Radetzky's  victory  at  Milan.  — 
Aug.  9.    Armistice.  —  Xov.  25.   Flight  of  the  Pope  to  Gaeta. 

1819.  Feb.  5.  Republic  proclaimed  at  Rome.  —  March  16.  Charles  Albert 
terminates  the  armistice  (ten  days''  campaign).  —  March  23.  Radetzky''s 
victory  at  Novara.  —  Mar.  24.  Charles  Albert  abdicates  ;  accession  of 
'Victor  Emmanuel  II.  —  Mar.  26.  Armistice.  —  Mar.  31.  Haynau 
conquers  Brescia.  —  April  5.  Republic  at  Genoa  overthrown  by  La- 
marmora.  —  Apr.  30.  Garibaldi  defeats  the  French  under  Oudinot.  — 
May  15.  Subjugation  of  Sicily.  —  July  4.  Rome  capitulates.  — 
Aug.  6.  Peace  concluded  between  Austria  and  Sardinia.  —  Aug.  22. 
Venice  capitulates. 

1850.  April  4.  Pius  IX.  returns  to  Rome. 

1855.  Sardinia  takes  part  in  the  Crimean  'War. 

1856.  Congress  at  Paris.     Cavour  raises  the  Italian  question. 

1859.  May  20.  Battle  of  Montebello.  —  June  4.  Battle  of  Magenta.  — 
June  24.    Battle  of  Solferino.    —    Nov.  10.   Peace  of  Zurich. 

1860.  March  18.  Annexation  of  the  Emilia.  —  Mar.  22.  Annexation  of 
Tuscany.  —  Mar.  24.  Cession  of  Savoy  and  Nice.  —  May  11.  Garibaldi 
lands  at  Marsala.  —  May  27.  Taking  of  Palermo.  —  July  20.  Battle 
of  Melazzo.  —  Sept.  7.  Garibaldi  enters  Naples.  —  Oct.  1.  Battle  of 
the  Volturno.  —  Oct.  21.  Plebiscite  at  Naples.  —  Dec.  17.  Annexa- 
tion of  the  principalities,  TJmbria,  and  the  two  Sicilies. 

1861.  Feb.  13.  Gaeta  capitulates.  —  March  17.  Victor  Emmanuel  assumes 
the  title  of  King  of  Italy.  —  June  6.    Death  of  Cavour. 

1886.  June  20.  Battle  of  Custozza.  —  July  5.  Cession  of  Venetia.  —  July  20. 

Naval  battle  of  Lissa. 
1870.  Sept.  20.    Occupation   of  Rome  by  Italian  troops.  —  Oct.  9.    Rome 

declared  the  capital  of  Italy. 
1878.  Jan.  9.  Death  of  Victor  Emmanuel  II.;   accession  of  Humbert  I.  — 

Feb.  7.  Death  of  Pius  IX.  —  Feb.  20.    Election  of  Leo  XIII. 
1900.  July  29.  Assassination  of  Humbert  I ;  accession  of  Victor  Emmanuel  III. 
1903.  July  20.  Death  of  Leo  Xm.  —  Aug.  4.  Election  of  Pius  X. 


mTRODUCTION. 


Page 

I.  Travelling  Expenses.    Money xl 

11.  Period  and  Plan  of  Tonr xii 

III.  Language xiv 

IV.  Passports.    Custom  House.    Luggage xiv 

V.  Public  Safety.    Beggars xv 

VI.  Gratuities.    Guides xv 

VII.  Railways.     Steamboats xvi 

VIII.  Cycling  and  Motoring xix 

IX.  Hotels xix 

X.  Restaurants.    Caf^s.   Birrerie xxi 

XI.  Sights.    Theatres.    Shops xxiT 

XII.  Post  Office.    Telegraph xxv 

XIII.  Climate.    Winter  Stations.     Seaside  Resorts.    Health  xxvi 

XIV.  History  of  Art,  hy  Pro/".  A.  Springer xxxi 


'Thou  art  the  garden  of  the  world,  the  home 
Of  all  Art  yields,  and  Nature  can  decree; 
E'en  in  thy  desert,  what  is  like  to  thee? 
Thy  very  weeds  are  beautiful,  thy  waste 
More  rich  than  other  climes''  fertility, 
Thy  wreck  a  glory,  and  thy  ruin  graced 
With  an  immaculate  charm  which  cannot  be  defaced. 

Btkon. 

I.  Travelling  Expenses.  Money. 

Expenses.  The  cost  of  a  tour  in  Italy  need  not  exceed  that  in- 
curred in  other  much-frequented  parts  of  the  continent.  The  average 
expenditure  of  a  single  traveller,  apart  from  railway-fares,  may  be 
estimated  at  20-25  francs  per  day,  or  at  15-20  francs  when  a  pro- 
longed stay  is  made  at  one  place ;  but  persons  acquainted  with  the 
language  and  habits  of  the  country  may  easily  restrict  their  expenses 
to  still  narrower  limits.  Those  who  travel  as  members  of  a  party 
effect  a  considerable  saving  by  sharing  the  expense  of  guides,  car- 
riages, and  other  items.  "When  ladies  are  of  the  party,  the  expenses 
are  generally  greater. 

Money.  The  French  monetary  system  is  now  in  use  throughout 
the  whole  of  Italy.  The  franc  (lira  or  franco)  contains  100  centesimi , 
1  fr.  25  c.  =1  f.  (comp.  p.  ii).  In  copper  (bronzo  or  rame)  there  are 
coins  of  1,  2,  5,  and  10  centesimi,  and  in  nickel  pieces  of  20  and 
25  c.  In  silver  there  are  pieces  of  1,  2,  and  5  fr.,  but  coins  issued 
before  1863  are  refused.  The  gold  coins  (10,  20,  and  100  fr.)  are 
seldom  met  with,  their  place  being  taken  by  Biglietti  di  Stato  (treas- 
ury-notes) of  0,  10,  and  26  fr.,  the  banknotes  of  the  Banca  d' Italia, 
and  the  new  notes  (stamped  with  a  profile-head  of  Italia  In  red)  of 
the  Banco  di  Napoli  and  the  Banco  di  Sicilia.  All  other  banknotes 
should  be  refused. 


xli  SEASON. 

The  gold  coins  of  the  Latin  Monetary  League  (Italy,  France, 
Belgium,  Switzerland,  and  Greece)  circulate  at  their  face-value; 
also  the  gold  coins  of  Austria  (4  and  8  gulden-pieces),  Russia, 
Roumania,  Servia,  and  Monaco.  The  silver  five-franc  pieces  (scudi) 
of  the  Latin  Monetary  League  are  accepted  at  their  full  value,  and 
also  those  of  the  former  small  Italian  states,  with  the  exception  of 
the  Papal  states  and  the  Duchy  of  Lucca.  The  traveller  should 
refuse  all  other  Italian  silver  coins  issued  before  1863,  French  coins 
Issued  before  1864,  Belgian  and  Swiss  coins  issued  before  1866, 
Greek  coins  issued  before  1867,  and  coins  of  Monaco  issued  before 
1898.  No  foreign  copper  coins  legally  circulate  except  those  of  San 
Marino  issued  since  1864.  Obsolete  and  worn  coins  are  frequently 
offered  to  strangers  at  shops  and  inns  and  even  at  railway  ticket- 
offices.  —  A  piece  of  5  c.  is  called  a  soldo  or  palanca,  and  as  the 
lower  classes  often  keep  their  accounts  in  soldi,  the  traveller  will 
find  it  useful  to  accustom  himself  to  this  mode  of  reckoning  (diecj 
soldi  =  50  c,  dodici  soldi  =  60  c,  etc.). 

Best  Monet  fok  the  Todk.  Circular  Notes  or  Letters  of  Credit  ^  ob- 
tainable at  the  principal  English  or  American  banks,  form  the  proper 
medium  for  the  transport  of  large  sums,  and  realise  the  most  favourable 
exchange.  English  and  German  banknotes  also  realise  their  nominal 
value.  Sovertigns  are  received  at  the  full  value  (not  less  than  25  fr.)  by 
the  principal  hotel-keepers. 

Exchange.  Foreign  money  ig  most  advantageously  changed  in  the 
larger  towns,  either  at  one  of  the  English  bankers  or  at  a  respectable 
money-changer's  (''cambiavaluta').  As  a  rule,  those  money-changers  are 
the  most  satisfactory  who  publicly  exhibit  a  list  of  the  current  rates  of 
exchange.  The  traveller  should  always  be  provided  with  an  abundant 
supply  of  silver  and  small  notes,  as  it  is  often  difficult  to  change  notes  of 
large  amount.  It  is  also  advisable  to  carry  1-2  fr.  in  copper  and  nickel  in 
a  separate  pocket  or  pouch. 

Money  Orders  payable  in  Italy,  for  sums  not  exceeding  iOl.,  are  granted 
by  the  British  Post  Office  at  the  following  rates:  up  to  il.,  id.;  61.,  Is.; 
iOl.,  Is.  6d. ;  201.,  2s.  9d.;  40J.,  5s.  3d.  These  are  payable  at  the  rate  of 
of  25  fr.  20  c.  per  il.  The  identity  of  the  receiver  must  be  guaranteed 
by  two  well-known  residents,  or  by  an  exhibition  of  the  passport.  The 
charge  for  money-orders  granted  in  Italy  and  payable  in  England  is  40c. 
per  U.  sterling.  —  Telegraph  Money  Orders  are  allowed  for  certain  places 
in  Italy  only. 

II.  Period  and  Plan  of  Tour. 
Season.  As  a  general  rule,  the  spring  and  autumn  months  are 
the  best  season  for  a  tour  in  North  Italy,  especially  April  and  May 
or  September  and  October.  Winter  in  Lombardy  (apart  from  a  few 
favoured  spots  on  the  shores  of  the  lakes)  and  Piedmont  is  generally 
a  much  colder  season  than  it  is  in  England,  but  the  Ligurian  Riviera 
(Genoa  excepted)  affords  pleasant  and  sheltered  quarters.  The 
height  of  summer  can  hardly  be  recommended  for  travelling.  The 
scenery,  indeed,  is  then  in  perfection,  and  the  long  days  are  hailed 
with  satisfaction  by  the  enterprising  traveller ;  but  the  fierce  rays  of 
an  Italian  sun  seldom  fail  to  impair  the  physical  and  mental  energies. 


PLAN  OF  TOUR.  xill 

Flan.  The  following  short  itinerary ,  heginning  and  ending  at 
Milan,  though  very  far  from  exhausting  the  beauties  of  North  Italy, 
includes  most  of  the  places  usually  visited ,  with  the  time  required 
for  a  glimpse  at  each. 

Days 
Ifilan  (R.  22),  and  excursion  to  Pavia  (the  Certosa,  p.  162)  .  .  .  2V» 
To  the  Logo  di  CoTno,  Lago  di  Lugano,  and  Lago  Maggiore  (RR.  26, 

27,  31)  and  on  to  Turin 3 

Turin  (R.  7) 1 

From  Turin  to  Genoa  (R.  11) Va 

Genoa  (R.  181,  and  excursion  to  Pegli  (Villa  Pallavicini,  p.  95)       .     21/2 
Nervi  (p.  107 1,   Santa   Margheriia  (p.  110),   and  Rapallo  (p.  112)  or 

Settri  Levante  (p.  114);  R.  20 IV2 

Via  Spetia  to  Pisa,  see  R.  20;  Pisa  (R.  60) I'/a 

Via  Lucca  and  Pislaia  to  Florence,  see  R.  63 1 

Florence  (R.  64) 5 

From  Florence  to  Bologna  (R.  57) '/« 

Bologna  (R.  56),  with  excursion  to  Ravenna  (R.  58) 21/2 

From  Bologna  via  Ferrara  to  Padua  (R.  54) 1 

[Or  to  Modena  (R.  53)  and  Parma  (R.  51),  see  R.  50  .     .     .     .     .     .     l'/2 

From  Modena  via  Mantua   to  Verona   (see  R.  42)   and  via   Vicema 

to  Padna  (see  R.  43)] IV2] 

Padua  (R.  44),  and  thence  to  Venice 1 

Venice  (R.  47)     .^ 4 

From  Venice  (via   Vicenza)  to    Verona  (R.  41),  see  R.  43     ....     2 
[Excursion  to  Mantua  (p.  257),  when  the  way  fi-om  Modena  to  Verona 

via  Mantua  is  not  adopted 1] 

Lago  di  Oarda  (R.  40) 1V» 

From  Desenzano  via  Brescia  (R.  38)  and  Bergamo  to  Milan  (RR.37,  34)    2 

To  those  who  -wish  to  visit  only  a  part  of  North  Italy  (whether 
the  eastern  or  western),  the  following  itineraries  may  be  recom- 
mended :  — 

a.  Eastern  Part,  starting  from  the  Brenner  Railway.  Days 

From  Mori  to  Riva  (p.  237),  Lago  di  Garda  (R.  40) IV2 

Verona  (R.  41) 1 

Excursion  to  Mantua  (p.  257) 1 

From  Verona  via   Yicenza  (p.  2G5)  to  Padua 1 

Padua  (R.  44),  and  thence  to  Venice 1 

Venice  (R.  47) 4 

From  Venice  via  Ferrara  (R.  55)  to  Bologna 1 

Bologna  (R.  56) IV2 

Excursion  to  Ravenna  (R.  58) i 

From  Bologna  to  Modena  (R.  53)  and  Parma  (R.  51),  see  R.  50  .     .     IV2 

From  Parma  via  Piacenza  (p.  358)  to  Milan V2 

Milan  (R.  21),  and  excursion  to  Pavia  (the   Certosa,  p.  162)    .    .     .     2V2 
Lago  Maggiore,  Lago  di  Lugano,  Lago  di  Como  (RR.  26,  27,  31),  and 
from  Lecco  via  Bergamo  and  Brescia  (R.  34)  to  Verona       .     .     .     4'/2 

Western  Part,  starting  from  the  St.  Gotthard  or  Spliigen. 

Days 

Lago  di  Como,  Lago  di  Lugano,  Lago  Maggiore  (RR.  26,  27,  31)     .  3 

To  Turin  fR.  16) V2 

Turin  (R.  7),  and  thence  to  Genoa  (R.  11) IV2 

Genoa  (R.  18),  and  excursion  to  Pegli  (Villa  Pallavicini,  p.  95)      .  21/2 

Excursion  to  San  Remo  and  Bordighera  (R.  19) 2 

From  Genoa  via  Voghera  and  Pavia  (Certota,  p.  162)  to  Milan    .     .  1 

Milan  (R.  22) 2 


xlT  CUSTOM  HOUSE. 

III.   Language. 

It  Is  quite  possible  for  persons  entirely  ignorant  of  Italian  and 
French  to  travel  through  Italy  with  tolerable  comfort ;  but  such  trav- 
ellers cannot  conveniently  deviate  from  the  ordinary  track,  and 
are  moreover  invariably  made  to  pay  ^alla  Jnglese'  by  hotel-keepers 
and  others,  i.  e.  considerably  more  than  the  ordinary  charges.  French 
is  very  useful,  as  the  Italians  are  very  partial  to  that  language  ;  but 
for  those  who  desire  the  utmost  possible  freedom,  and  dislike  being 
imposed  upon,  a  slight  acquaintance  with  the  language  of  the  country 
is  indispensable.  Those  who  know  a  little  Italian ,  and  who  take 
the  usual  precaution  of  ascertaining  charges  beforehand  (^con- 
trattare  ,  bargain)  in  the  smaller  hotels  ,  in  dealings  with  drivers, 
gondoliers,  guides,  etc.,  and  in  shops,  will  rarely  meet  with  attempts 
at  extortion  in  Northern  Italy. t 

lY.  Passports.   Custom  House.    Luggage. 

Passports,  though  not  required  in  Italy,  are  occasionally  useful, 
as  for  example,  in  obtaining  the  delivery  of  registered  letters.  The 
countenance  and  help  of  the  English  and  American  consuls  can,  of 
course,  be  extended  to  those  persons  only  who  can  prove  their 
nationality.  Cyclists  and  motorists  should  always  carry  passports. 
The  Italian  police  authorities  are  generally  civil  and  obliging. 

Passports  may  be  obtained  direct  from  the  Foreign  Office  (fee  2«  )  or 
through  C.  Smith  Jt  Son,  23  Craven  St.,  Charing  Cross  (charge  4*.,  inclnd 
ing  agent's  fee);  Bnss,  i  Adelaide  St,  Striind  (is);  Cook  &  Son,  Ludgate 
Circus  (3*.  Gd.)  ;  and  Blacklock  &  Co.  ('Bradshaw's  Guides'),  59  Fleet  St.  (5<.). 

Custom  House.  The  examination  of  luggage  at  the  Italian 
frontier  railway-stations  is  generally  lenient,  but  complaints  are 
sometimes  made  as  to  a  deficiency  of  official  courtesy  at  diligence 
and  steamer  stations.  Tobacco  and  cigars  (only  ten  pass  free),  playing 
cards,  and  matches  are  the  articles  chiefly  sought  for.  The  custom- 
house receipts  should  be  preserved,  as  travellers  are  sometimes  chal- 
lenged by  the  excise  officials  in  the  interior.  At  the  gates  of  most 
of  the  Italian  towns  a  tax  (dazio  consumo)  is  levied  on  comestibles, 
but  travellers'  luggage  is  passed  at  the  barriers  (limite  daziario)  on 
a  simple  declaration  that  it  contains  no  such  articles. 

Luggage.  If  possible ,  luggage  should  never  be  sent  to  Italy 
by  goods-train ,  as  it  is  liable  to  damage  ,  pilferage ,  and  undue 
custom-house  detention.  If  the  traveller  is  obliged  to  forward  it  in 
this  way,  he  should  employ  a  trustworthy  agent  at  the  frontier  and 

+  A  few  words  on  i)i&  pronunciation  may  be  acceptable  to  persons  un- 
acquainted with  the  language.  C  before  e  and  «  is  pronounced  like  the 
English  ch;  g  before  «  and  t  like  j.  Before  other  vowels  c  and  g  are 
hard.  Ch  and  jrA,  which  generally  precede  «  or  i,  are  hard.  Sc  before  « 
or  i  is  pronounced  like  sh;  gn  and  gl  between  vowels  like  ny5f  and  \ji. 
His  silent.  The  vowels  a,  «,  i,  o,  u  are  pronounced  ah,  a,  ee,  o,  oo.  —  In  ad- 
dressing persona  of  the  educated  classes  'Lei',  with  the  3rd  pers.  sing., 
should  always  be  employed  (addressing  several  at  once,  'loro'  with  the 
3rd  pers.  pi).     'Voi'  is  used  in  addressing  waiters,   drivers,  etc. 


GBATUITIES.  xt 

send  him  the  keys.  As  a  nile  it  is  advisable,  and  often  in  the  end 
less  expensive ,  never  to  part  from  one's  luggage ,  and  to  super- 
intend the  custom-house  examination  in  person  (comp.  p.  xviiij. 

V.  Public  Safety.   Beggars. 

Public  Safety  in  Northern  Italy  is  on  as  stable  a  footing  as  to  the 
N.  of  the  Alps.  Travellers  will  naturally  avoid  lonely  quarters 
after  night-fall,  just  as  they  would  at  home.  The  policeman  in  the 
town  is  called  Ouardia;  the  gendarme  in  the  country,  Carabiniere 
(black  coat  with  red  facings  and  cocked  hat).  No  one  may  carry 
weapons  without  a  licence,  on  pain  of  imprisonment.  Armi  in- 
sidiose,  i.e.  concealed  weapons  (sword-sticks;  even  knives  with 
spring-blades,  etc.),  are  absolutely  prohibited. 

Begging  (accattonaggio),  always  one  of  those  national  nuisances 
to  which  the  traveller  in  Italy  must  accustom  himself,  has  recently 
somewhat  increased,  especially  in  Tuscany,  owing  partly  to  growing 
poverty,  but  largely  also  to  the  misplaced  generosity  of  travellers. 
As  the  profits  of  street- beggars  too  frequently  go  for  the  support  of 
able-bodied  loafers,  travellers  should  either  give  nothing,  or  restrict 
their  charity  to  the  obviously  infirm.  Gratuities  to  children  are 
entirely  reprehensible.  —  Importunate  beggars  should  be  dismissed 
with  'niente'  or  by  a  gesture  of  negation. 

VI.    Gratuities.   Guides. 

Gratuities.  —  The  traveller  should  always  be  abundantly 
supplied  with  copper  and  nickel  coin  in  a  country  where  trifling 
donations  are  in  constant  demand.  Drivers,  guides,  and  other  per- 
sons of  the  same  class  invariably  expect,  and  often  demand  as  their 
right,  a  gratuity  (buona  mano ,  mancia,  da  bere,  botliglia,  caffe, 
sigaro)  in  addition  to  the  hire  agreed  on,  varying  according  to  circum- 
stances from  2-3  sous  to  a  franc  or  more.  The  traveller  need  have 
no  scruple  in  limiting  his  donations  to  the  smallest  possible  sums. 
The  following  hints  will  be  found  useful  by  the  average  tourist.  In 
private  collections  1-2  visitors  should  bestow  a  gratuity  of  i/j-l  f^., 
3-4  pers.  1-lVa  fr.  For  repeated  visits  25  c.  is  enough  for  a  single 
visitor.  For  opening  a  church-door,  etc.,  10-20  c.  is  enough,  but  if 
extra  services  are  rendered  (e.jr.  uncovering  an  altar-piece,  lighting 
candles,  etc.)  from  1/4  to  1  fr.  may  be  given.  The  Oustodi  of  all 
public  collections  where  an  admission-fee  is  charged  are  forbidden 
to  accept  gratuities.  —  In  hotels  and  restaurants  about  5-10  per 
cent  of  the  reckoning  should  be  given  in  gratuities,  or  less  if  service 
is  charged  for. 

Guides  (Quide,  sing,  la  Quida)  may  be  hired  at  6-10  fr.  per  day. 
The  most  trustworthy  are  those  attached  to  the  chief  hotels.  In 
some  towns  the  better  guides  have  formed  societies  as  'Guide 
patontate'  or  'GuMe  autorizzato".   Their  services  may  generally  well 


xyl  RAILWAYS. 

te  dispensed  with  by  those  who  are  not  pressed  for  time.  Purchases 
should  never  be  made,  nor  contracts  with  vetturini  or  other  persons 
drawn  up,  in  presence  or  with  the  aid  of  a  commissionnaire,  as  any 
such  intervention  tends  considerably  to  increase  the  prices. 

YII.   Sailways.    Steamboats. 

Bailways.  —  For  visitors  to  Northern  Italy  the  most  Important 
railways  are  the  Rete  Mediterranean  the  Rete  Adriatica,  and  the 
Ferrovie  Nord  Milano,  the  last  affording  quick  and  convenient  access 
to  the  Lake  of  Como  and  the  Lago  Maggiore,  though  it  is  not  in- 
cluded in  the  system  of  circular  tours  in  Italy.  The  rate  of  travelling 
is  very  moderate,  rarely  reaching  30  M.  per  hour.  The  first-class 
carriages  are  comfortable,  the  second  resemble  the  English  and  French, 
while  the  third  class  is  chiefly  frequented  by  the  lower  orders. 

Among  the  expressions  with  which  the  railway-traveller  will  soon 
become  familiar  are  —  'si  cambia  treno'  (change  carriages),  ^fermata'  (halt; 
'quanti  minuti  di  fermataV,  how  long  do  we  stop  here?),  ''essere  in  coin- 
cidenzci'  (to  make  connection),  and  '■uscita'  (egress).  Fare  il  biglietto  means  to 
take  a  ticket.  Qiieslo  poslo  ^ preso ?  Is  this  seat  engaged?  Dove  parte  il  treno 
per  Veneziai'  Where  dues  the  train  for  Venice  start?  Quale  rvtaiaf  Which 
line?  The  station-master  is  called  ^capostazicne'';  the  guard,  conduttore. 
Smoking-compartments  are  labelled  '■pei  fumatorf,  those  for  non-smokers 
'■vietato  di  /umare\ 

The  international  trains  de  Z«a;e  are  generally  available  for  long-distance 
travellers  only.  The  mail  trains  are  called  Treni  Direilissimi  (Ist  and 
2nd  class  only ;  sometimes  with  dining  and  sleeping  cars)  and  the  ordinary 
expresses  Treni  Diretti.  The  Treni  Accele.rati  are  somewhat  faster  than  the 
Treni  Omnibus.  The  Treni  Misli  are  composed  partly  of  passenger-carriages 
and  partly  of  goods-waggons.  The  fares  of  the  Rete  Adriatica  and  Rete 
Mediterranea  are  (for  the  three  classes)  12.75,  8.93,  and  5.80  c.  per  kilometre 
by  the  express-trains,  and  11.60,  8.12,  and  5.22  c.  by  the  slow  trains.  In 
addition  to  this  there  is  a  government  tax  of  3  per  cent,  on  all  fares  above 
90  c.  (included  in  the  fares  given  in  the  railway  time-tables),  and  there  is 
also  a  stamp-duty  of  5  c.  on  each  ticket. 

The  best  Time  Table  is  the  Orario  JJfficiale  delle  Strade  Ferrate, 
delle  Tramvie^  della  Navigazione  e  delle  Messaggerie  postali  del  Regno, 
published  by  the  Fratelli  Pozzo  at  Turin  (price  1  fr.).  Smaller 
editions  are  issued  at  80  c,  50c.,  and  20  c.  —  Railway  time  is  that 
of  Central  Europe. 

Tickets.  At  the  larger  towns  it  is  better,  when  possible,  to  take 
the  tickets  at  the  town-agencies  (agenzia  di  cilta)  of  the  railway.  At 
the  stations  the  traveller  will  find  it  convenient  to  have  as  nearly 
as  possible  the  exact  fare  ready  in  his  hand.  In  addition  to  the  fare 
proper  there  is  a  tax  of  5  c.  on  each  ticket.  'Mistakes'  are  tome- 
times  made  by  the  ticket-clerks.  —  It  is  important  to  be  at  the 
station  early  in  the  case  of  terminal  stations ;  at  other  stations  the 
trains  are  frequently  late.  The  ticket-office  at  large  stations  is  open 
40  min.,  at  small  stations  20  min.  before  the  departure  of  the  train. 
Ticket-holders  alone  have  the  right  of  admission  to  the  waiting- 
rooms.  At  the  end  of  the  journey  tickets  are  given  up  at  the  usc^a. 
—  Holders  of  tickets  for  distances  over  124  M.  may  break  the 


RAILWAYS.  XYii 

journey  once,  those  with  tickets  for  over  310  M.  twice;  bnt  the 
ticket  must  be  shown  to  the  capostazione  on  leaving  the  train,  and 
again  presented  at  the  ticket-office  to  be  stamped  before  the  journey 
is  resumed. 

Rktuen  Tickets  (Biglietti  di  andata-ritorno)  for  distances  up  to 
100  kilometres  (62  M.)  are  valid  for  one  day  only,  up  to  200  kil. 
for  2  days,  up  to  300  kil.  for  3  days,  and  beyond  300  kil.  for  4  days. 
Rut  those  issued  on  Saturdays  and  the  eves  of  festivals  are  avail- 
able for  three,  those  issued  on  Sundays  and  festivals  for  two  days 
at  least.    These  tickets  do  not  allow  the  journey  to  be  broken. 

CmcuLAR  Tour  Tickets  from  London  to  Italy,  with  fixed  itine- 
raries, are  issued  in  considerable  variety  by  the  South-Eastern  and 
Chatham  and  the  London,  Brighton,  &  South  Coast  Railway  Com- 
panies. The  so-called  'Rdndubise  Tickets'  (biglietti  combinabili 
mterndzionali),  with  routes  arranged  to  meet  the  wishes  of  particular 
travellers,  are  also  convenient.  These  tickets  (books  of  coupons) 
arc  not  issued  for  distances  under  600  kil.  (373  M.),  reckoned  from 
the  first  Continental  station  reached  from  England.  Those  for 
distances  up  to  2000  kil.  are  valid  for  46  days,  for  2001-3000  kil. 
for  60  (lays,  and  beyond  that  distance  for  90  days.  These  inter- 
national tickets  allow  of  no  free  luggage,  but  permit  the  journey 
to  be  broken  without  formality  at  any  of  the  stations  named  in  them. 
If  the  traveller  alight  at  other  stations  he  must  at  once  apply  to  the 
capostazione  for  recognition  of  the  break  of  journey.  Some  express 
trains  are  not  available  for  short  distances  by  the  holders  of  these 
tickets  (comp.  p.  107,  etc.).  —  Tickets  of  both  the  above-mentioned 
kinds  and  full  information  may  be  procured  in  London  (at  the 
principal  stations  of  the  southern  railways  and  at  the  ordinary  tourist- 
agencies),  in  Paris,  and  at  the  chief  towns  of  Germany  and  Switzer- 
land. —  Those  with  whom  economy  is  an  object  may  save  a  good  deal 
by  taking  return-tickets  to  the  Swiss  frontier,  travelling  third  class 
in  Switzerland,  and  then  taking  circular-tour  tickets  in  Italy. 

These  tickets  have  to  be  signed  by  tlie  traveller  and  require  to  be 
stamped  at  each  fresh  starting-point  with  the  name  of  the  next  station 
at  which  the  traveller  intends  to  halt.  This  may  be  done  either  at  the 
city-nfDce  or  at  the  railway -station  (usually  at  a  special  ticket-oflice, 
laliclled  'viaggi  circolari''),  If  the  traveller  makes  up  his  mind  en  route 
to  alight  before  or  beyond  the  station  for  which  his  ticket  has  been  stamped, 
he  must  at  once  apply  to  the  capostazione  of  the  station  where  he  leaves 
the  train  for  recognition  of  the  break  in  the  journey  Caccerlare  il  cam- 
hiamento  di  destinaziom').  When  the  traveller  quits  the  prescribed  route, 
intending  to  rejoin  it  at  a  point  farther  on,  he  has  also  to  procure  an 
^annotazione^  at  the  station  where  he  alights,  enabling  him  to  resume  his 
circular  tour  after  his  digression  ('■vale  per  yiprendere  alia  siazione  .  .  .  it 
viagyio  interrotto  a  .  .  .').  If  this  ceremony  be  neglected  the  holder  of  the 
ticket  is  required  to  pay  fnll  fare  for  the  omitted  portion  of  the  route  for 
which  the  ticket  is  issued. 

Grnbral  Tickets.  The  so-called  Biglietti  di  Abbonamento  Speciale 
or  General  Season  Tickets  entitle  the  holder  to  travel  at  will  during 
a  given  time  over  the  Italian  railways  and  thus  preserv«  his  free- 

Babdbkbr.    Italy  1.    13th  Edit.  b 


xviii  STEAMERS. 

dom  of  movement  better  than  the  circular  tour  tickets.  The  general 
season  tickets  are  issued  only  at  some  of  the  principal  stations  (such 
as  Florence,  Milan,  Turin,  Bologna,  Genoa,  Pisa,  and  Leghorn),  but  a 
form  of  application  may  be  obtained  at  any  station.  The  applicant  must 
pay  1  fr.  wheTi  ordering  the  ticket  and  at  the  same  time  furnish  an 
unmounted  photograph  of  himself.  The  ticket  is  issued  at  the  chief 
stations  2hrs.,at  the  smaller  stations  about 24 hrs.  after  the  application. 

Luggage.  No  luggage  is  allowed  free ,  except  small  articles 
taken  by  the  passenger  into  his  carriage  ;  the  rate  of  charge  is  4'/2  c 
for  100  kilogrammps  per  kilometre.  Travellers  v?ho  can  confine  their 
impedimenta  to  articles  which  they  can  carry  themselves  and  take  into 
the  carriages  with  them  will  be  spared  much  expense  and  annoyance. 
Those  who  intend  to  make  only  a  short  stay  at  a  place,  especially 
when  the  town  or  village  lies  at  some  distance  from  the  railway, 
had  better  leave  their  heavier  luggage  at  the  station  till  their  return 
(dare  in  deposito ,  or  depositare ;  5  c.  per  day  for  each  piece,  min- 
imum 10  c.)  or  forward  it  to  the  final  destination.  At  small  stations 
the  traveller  should  at  once  look  after  his  luggage  in  person.  —  The 
luggage-ticket  is  called  lo  scontrino.  Porters  (facchini)  who  convey 
luggage  to  and  from  the  carriage  are  entitled  to  6-20  c.  per  package 
by  tariff;   and  attempts  at  extortion  should  be  firmly  resisted. 

As  several  robberies  of  passengers'  luggage  have  been  perpetrated  in 
Italy  without  detection,  it  is  as  well  that  articles  of  great  value  should 
not  be  entrusted  to  the  safe-keeping  of  any  trunk  or  portmanteau,  however 
strong  and  secure  it  may  seem  (comp.  p.  xiv).  —  Damaged  trunks  may  be 
secured  by  leaden  seals  (piomhare)  for  5  c.  each  package. 

The  enormous  weight  of  the  large  trunks  used  by  some  travellers  not 
infrequently  causes  serious  injury  to  the  porters  ivho  have  to  handle  them. 
Heavy  articles  should  therefore  always  be  placed  in  the  smaller  packages. 

Italian  Kailwat  IlESTAnEANTS ,  especially  those  at  frontier-stations, 
leave  much  to  be  desired.  Luncheon-baskets  (3-4  fr.)  may  be  obtained 
at  some  of  the  larger  stations. 

Passengers  by  night-trains  from  the  larger  stations  may  hire  pillows 
[cutcino,  guanciale;  1  fr.,  for  abroad  2  fr.).  These  must  not  be  removed 
from  the  compartment. 

Steamers.  The  time-tables  of  the  steamer-routes  are  given  in 
the  larger  railway-guide  mentioned  at  p.  xvi;  but  changes  are  so 
frequent  that  enquiries  on  the  spot  are  always  advisable. 

On  the  Italian  Lakes  the  tickets  are  usually  issued  on  board 
the  steamer.  Passengers  embarking  at  intermediate  stations  receive 
checks  which  they  show  on  purchasing  their  tickets.  There  is  no 
extra  charge  for  embarking  or  disembarking  at  small-boat  stations. 
The  railways  issue  tickets  including  the  lake-journey.  Return- 
tickets  do  not  usually  permit  of  the  journey  being  broken.  On 
Sundays  in  summer  the  boats  are  frequently  crowded  by  excur- 
sionists. —  The  steamers  occasionally  leave  the  smaller  stations  as 
much  as  10  min..  in  advance  of  the  scheduled  times,  but  they  are 
much  more  frequently  late. 

In  the  proper  season  a  steamer  trip  on  the  Mediterranean,  especially 
between  Genoa,  Spezia,  and  Leghorn,  or  on  the  Adriatic,  between  Venice 
and  Trieste,  is  a  very  charming  experience.    Tickets  should   be  taken  in 


CYCLING.  xix 

person  at  the  steamboat-agencies.  Ladies  should  travel  first-class,  but 
gentlemen  of  modest  requirements  will  find  the  second  cabin  very  fair. 
The  steward  expects  a  gratuity  of  about  1  fr.  per  day,  or  more  if  the  trav- 
eller has  given  him  extra  trouble.  —  The  inadequate  arrangements  for 
embarking  and  disembarking  give  great  annoyance.  The  tariff  is  usually 
l-l'/a  fr.  for  each  person,  including  luggage;  but  the  passengers  are  generally 
left  at  the  mercy  of  the  boatmen,  who  often  make  extortionate  demands. 
The  traveller  should  not  enter  the  boat  until  a  clear  bargain  has  been 
made  for  the  transport  of  himself  and  his  impedimenta,  and  should  not 
pay  until  everything  lias  been  deposited  on  deck  or  on  shore.  Small  articles 
of  luggage  should  be  kept  in  one's  own  hands. 

VUI.  Cycling  and  Motoring. 

The  environs  of  Milan,  Turin,  Verona,  and  Bologna,  the  neigh- 
bourhood of  the  Italian  Lakes,  and  the  Riviera  all  offer  many  attrac- 
tions for  the  cyclist  and  motorist.  The  roads  are  good  on  the  whole, 
though  often  very  dusty  in  summer  (especially  In  the  N.  Italian 
plain)  and  correspondingly  muddy  in  wet  weather.  —  English  riders 
should  remember  that  the  rule  of  the  road  in  Italy  is  the  reverse  of 
that  in  England:  keep  to  the  right  on  meeting,  to  the  left  in  over- 
taking another  vehicle. 

The  unattached  Cyclist  on  entering  Italy  with  Ms  wheel  must 
deposit  42  fr.  60  c.  with  the  custom-house  authorities,  which  sum 
is  returned  to  him  (though  sometimes  not  without  difficulties!  when 
he  quits  the  country.  Members  of  well-known  cyclist  associations, 
such  as  the  Cyclists^  Touring  Club  (London;  47  Victoria  St.,  S.W.) 
or  the  Touring  Club  de  France  (Paris ;  10  Place  de  la  Bourse),  are, 
however,  spared  this  formality,  on  conditions  explained  in  the 
handbooks  of  these  clubs.  A  certificate  of  re-exportation  (certificato 
di  scarico)  should  always  he  obtained,  as  otherwise  the  club  of 
which  the  cyclist  is  a  member,  may  be  called  upon  subsequently  to 
pay  the  duty  as  above.  —  On  the  railways  cycles  are  treated  as  ordinary 
passengers'  luggage  (p.  xviii).  Valises  should  not  be  left  strapped 
to  cycles  when  sent  by  rail,  owing  to  the  risk  of  theft  (p.  xviii). 

Motor  Cars  entering  Italy  are  liable  to  pay  a  customs-duty 
(varying  from  ca.  200  fr.  to  ca.  600  fr.  according  to  the  weight  of  the 
car),  which  is  returned  when  the  car  quits  the  country.  A  licence 
for  the  car  and  a  driver's  licence  are  necessary,  but  those  issued  by 
foreign  countries  are  accepted  if  lodged  within  five  days  at  a  pro- 
vincial prcfettura  for  registration.  Petrol  is  easily  obtained  in  North 
Italy  (3-5  fr.  per  gallon). 

members  o{  the  Touring  Club  Italiano  (Milan,  Via  Jlonte  Napoleone  14  : 
entrance  fee  2  fr.,  annual  subscription  5  fr.)  C(mimand  advantageous  terms 
at  numerous  hotels,  besides  having  access  to  the  special  information  and 
maps  of  the  club.  One  of  its  best  guides  is  L.  V.  Bertarellis  Guida  Itinerario 
dellc  Strade  di  grande  Comunicazione  dell'  Italia  {3rd  ed.;  Milan,  1900), 
with  numerous  maps  and  plans.  It  also  publishes  road-maps  at  Is.  Gd. 
each  (Sheet  1,  Lombardia,  Piemonte,  e  Liguria;  Sheet  2,  Veneto). 

IX.  Hotels. 

First  Class  Hotels,  comfortably  fitted  up,  are  to  be  found  at 
all  the  principal  resorts  of  travellers  in  Northern  Italy,  most  of  them 

b* 


XX  HOTELS. 

having  fixed  charges:  room  3-10  fr.  for  each  person,  light  75  c.  to 
IV2  fr.,  attendance  (exclusive  of  the  'facchino'  and  portier)  1  fr., 
luncheon  (colazione,  dejeuner)  3-5  fr.,  dinner  (pranzo,  diner)  5-8  fr. 
The  charge  for  dinner  does  not  include  wine,  which  is  usually  dear  and 
often  poor.  For  a  prolonged  stay  an  agreement  may  generally  be  made 
with  the  landlord  for  pension  at  a  more  moderate  rate.  Visitors  are 
expected  to  dine  at  the  table-d'hote  ;  otherwise  the  charge  for  rooms 
is  apt  to  be  raised.  The  charges  for  meals  furnished  in  private  rooms 
or  at  unusual  times  are  much  higher.  Other  'extras'  are  also  dear. 
The  cuisine  is  a  mixture  of  French  and  Italian.  During  the  season 
and  at  the  more  frequented  resorts  it  is  advisable  to  engage  rooms 
in  advance,  especially  if  arriving  in  the  evening.  It  is  advisable  to 
prepay  the  answer,  to  prevent  disappointment  on  arrival.  Gentlemen 
travelling  alono  may  leave  their  luggage  at  the  station  until  rooms 
have  been  secured.  The  charge  for  the  use  of  the  hotel-omnibus 
from  the  station  to  the  hotel  is  so  high  (1-2  fr.  each),  that  it  is 
often  cheaper  to  take  a  cab.  It  is  also  easier  for  those  who  use  a  cab  to 
proceed  to  another  hotel,  should  they  not  like  the  rooms  offered  them. 

The  Second  Class  Hotels  (Alberghi;  in  the  S.  districts,  also  Lo- 
eande)  are  less  comfortable  and  thoroughly  Italian  in  their  arrange- 
ments. The  charges  are  little  more  than  one-half  of  the  above :  room 
1-5,  attendance  1/2,  omnibus  ^2"!  fr.  They  have  no  table-d'hote,  but 
there  is  generally  a  trattoria  connected  with  the  house,  where  refresh- 
ments 5  la  carte,  or  a  dinner  a  prezzo  fisso,  may  be  procured.  Fair 
native  wines,  usually  on  draught,  are  furnished  in  these  houses  at 
moderate  prices.  Morning  coffee  is  usually  taken  at  a  cafe  and  not 
at  the  inn.  It  is  customary  to  make  enquiries  beforehand  as  to  the 
charges  for  rooms ,  not  forgetting  the  servizio  e  candela ;  and  the 
price  of  the  dinner  (if  not  h  la  carte)  should  also  be  agreed  upon 
(2-4  fr.,  with  wine  21/2-41/2  fr-)-  These  inns  will  often  be  found 
convenient  and  economical  by  the  voyageur  en  gar(on,  and  the  better 
houses  of  this  class  may  even  be  visited  by  ladies,  when  at  home  in 
Italian ;  the  new-comer  should  frequent  hotels  of  the  first  class  only. 

Hotels  Gabnis  are  to  be  found  in  most  of  the  larger  towns, 
with  charges  for  rooms  similar  to  those  in  the  second-class  hotels. 

As  matches  are  rarely  found  in  hotels,  the  guest  should  provide  himself 
with  a  supply  of  the  wax-matches  (cerini)  sold  in  the  streets  (1-2  boxes 
10-15  c).     Soap  is  also  a  high-priced  'extra'. 

Money  or  objects  of  value  should  either  be  can-ied  on  the  traveller's 
person  or  left  with  the  landlord  in  exchange  for  a  receipt. 

The  Pensions  of  the  larger  towns  and  resorts  also  receive  passing 
travellers.  The  charge  is  about  the  same  as  that  of  the  second-class 
inns  and  usually  includes  table-wine.  As,  however,  the  price  of 
dejeuner  is  usually  (though  not  universally)  included  in  the  fixed 
daily  charge,  the  traveller-has  either  to  sacrifice  some  of  the  best  hours 
for  visiting  the  galleries  or  to  pay  for  a  meal  he  does  not  consume. 

For  a  prolonged  stay  in  one  place  families  will  find  it  much 
cheaper  to  hire  Private  Apartments  and  do  their  own  housekeep- 


REST  AUK  ANTS.  xxi 

iiig.  A  rent  lower  than  that  first  asked  for  is  often  accepted.  M'hen 
a  whole  suite  of  apartments  is  hired,  a  written  contract  on  stamped 
paper  should  be  drawn  up  with  the  aid  of  someone  acquainted 
with  the  language  and  customs  of  the  place  (e. p.  a  banker),  in  order 
that  'misunderstandings'  may  be  prevented.  A  payment  of  part  of 
the  rent  in  advance  is  a  customary  stipulation;  but  such  payments 
should  never  be  made  until  after  the  landlord  has  redeemed  all  his 
undertakings  with  regard  to  repairs,  furnishing,  etc.  For  single 
travellers  a  verbal  agreement  with  regard  to  attendance,  linen,  stoves 
and  carpets  in  winter ,  a  receptacle  for  coal ,  and  other  details  will 
generally  suffice.    Comp.  p.  xxx. 

The  popular  idea  of  cleanliness  in  Italy  is  behind  the  age ;  but 
the  traveller  in  the  N.  part  of  the  country  will  rarely  suffer  from  this 
short-coming  even  in  hotels  of  the  second  class,  though  those  who 
quit  the  beaten  track  must  be  prepared  for  privations.  Iron  bedsteads 
should  if  possible  be  selected,  as  they  are  less  likely  to  harbour  the 
enemies  of  repose.  Insect-powder  (polvere  insetticida  or  contra  gli 
insetti)  or  camphor  somewhat  repels  their  advances. 

The  zamare,  or  musquitoes,  are  a  source  of  great  annoyance,  and  often 
of  suffering,  during  summer  and  autumn  and.  on  the  Riviera,  even  in 
winter.  Only  a  few  parts  of  N.  Italy  (e.g.  Piedmont,  the  \V.  lakes,  and 
Bologna)  are  free  from  this  pest,  which  is  always  worst  in  the  neigh- 
bourhood of  plantations,  canals,  or  ponds.  Between  June  and  October  the 
night  should  never  be  spent  in  malarial  districts  (Colico,  Blorlara,  Pavia. 
Mantua,  Ferrara,  Ravenna),  where  the  female  of  the  Anopheles  Cloviger 
frequently  conveys  the  infection  of  malarial  fever  with  its  sting.  Small 
doses  of  quinine  may  be  used  as  a  prophylactic.  Windows  should  always 
be  carefully  closed  before  a  light  is  introduced  into  the  room.  Light  muslin 
curtains  (zamarieri)  round  the  beds,  masks  for  the  face,  and  gloves  are 
employed  to  ward  off  the  attacks  of  these  pertinacious  intruders.  The 
burning  of  pastilles  (fidibui  contro  le  zanzare;  in  Venice,  chiodi),  which  may 
be  purchased  of  the  principal  chemists,  is  efficacious,  but  is  accompanied 
by  a  scarcely  agreeable  odour.  A  weak  solution  of  carbolic  acid  in  water 
is  efficacious  in  allaying  the  discomforts  occasioned  by  the  bites. 

A  list  of  the  Italian  names  of  the  ordinary  articles  of  underclothing 
(la  biancheria)  will  be  useful  in  dealing  with  the  washerwoman:  Shirt 
(linen,  cotton,  woollen),  la  camicia  (di  tela,  di  cotone,  di  lana);  night-shirt, 
la  camicia  da  nolle;  collar,  i{  tolino,  il  colletio;  cuff,  il  poltino;  drawers, 
le  mutande;  woollen  under-shirt,  una  Jlanella  or  giubba  dijianella  or maglia; 
petticoat,  la  sottana;  stocking,  la  calza;  sock,  la  ealzetta;  handkerchief 
(silk),  il  fazolttto  (di  seta).  To  give  out  to  wash,  dare  a  bucato  (di  bucato, 
newly  washed);  washing  list,  la  nota;  washerwoman,  laundress,  la  tlira- 
trice,  la  lavandaia;  buttons,  •  bottoni. 

X.  Restaurants.  Caf6s.  Birrerie. 
Restaurants  (Ristoranti,  Trattorie)  are  frequented  between  1 1  a.m. 
and  2p.m.  for  luncheon  (coUazione)  and  between  6.30  and  8.30  p.m. 
for  dinner  (pranzo).  Meals  are  usually  served  alia  carta  at  moderate 
prices;  meals  a  prezzo  fisso  ( 2^2-5 fr.)  are  not  customary  except  in  a 
few  restaurants  largely  frequented  by  foreigners  and  are,  in  general, 
not  recommended.  When  there  is  no  bill  of  fare  the  waiter  ('rameriere^ 
will  recite  the  list  of  dishes.  If  too  importunate  in  his  recom- 
mendations or  suggestions  he  may  be  checked  with  the  word  ^basta\ 


RESTAURANTS. 


The  diner  calls  for  his  bill  (which  should  he  carefully  scrutinized) 
with  the  words  'iJ  conto'.  The  waiter  expects  a  gratuity  of  ahout 
5  c.  for  each  franc  of  the  bill  (comp.  p.  xv).  —  Residents  for  some 
time  in  a  town  should  arrange  to  pay  a  fortnightly  or  monthly  sub- 
scription (''■pensione' )  at  a  lower  rate. 

List  of  the  ordinary  dishes  at  the  Italian  restaurants. 

Soglia,  a  kind  of  sole. 
Aragosta,  lobster.         ^ 
Ostriche^  oysters  (good  in  winter  only; 
comp.  p.  283). 


Antipa*(i,  relishes  taken  as  whets 
(such  as  sardines,  olives,  or  rad- 
ishes). 

Minestra  or  Zuppa^  soup. 

Brodo  or  Consumi^  broth  or  bouillon. 

Ztippa  alia  Santi,  soup  with  green 
vegetables  and  bread. 

Minestra  di  riso  con  piselli,  rice-soup 
with  peas. 

Risotto  (alia  Milanese),  a  kind  of  rice 
pudding  (rich). 

Paste  ascitttte,  niacearoni,  al  sugo  e 
al  lurro,  with  sauce  and  butter; 
ai  pomi  d^oro,  with  tomatoe>s. 

Saldme,  sausage  (usually  with  garlic, 
aglio). 

Polio,  fowl. 

AnUra,  duck. 

Polio  d''India,  or  diiido,  turkey. 

Stvfatino,  Cibreo,  ragout  (often  med- 
iocre). 

Crocchetti,  croquettes  of  rice  or  po- 
tatoes. 

PoJpeltine,  small  meat-dumplings. 

Qnocchi,  small  dumplings  of  dough. 

Pasticcio,  pat^,  patty. 

Contorno  ,  Quat-niziom ,  garni.shing, 
vegetables,  usually  not  charged  for. 

Came  les$a,  boUiia,  boiled  meat;  in 
umido ,  alia  genovese,  with  sauce; 
ben  cotto ,  well-done;  al  tangue, 
air  inglete ,  underdone ;  ai  Jerri, 
cooked  on  the  gridiron. 

Manzo,  boiled  beef. 

Fritto,  una  Frittura,  fried  meat. 

Fritto  misto,  a  mixture  of  fried  liver, 
brains,  artichokes,  etc. 

Arrosto,  roasted  meat. 

Arrosto  di  vitello,  roast-veal. 

^w<ccoa,beefsteak(usually  mediocre). 

Maiale,  pork  (eaten  in  winter  only). 

Montone,  mutton. 

Agnello,  lamb. 

Capretto,  kid. 

Testa  di  vitello,  calf's  head. 

Figato  di  vitello,  calf's  liver. 

Bracidla  di  vitello,  veal-cutlet. 

Rognoni,  kidneys. 

Costoletta  alia  Milanese,  veal-cutlet 
baked  in  dough. 

Sgaloppe ,  veal  -  cutlet  with  bread- 
crumbs. 

Palate,  potatoes. 

Petce,  fish. 


Friitta  di  mare,  mussels,  shell- fish,  etc. 

Fmiglii,  mushrooms. 

Presciutto,  ham. 

Uova,  eggs ;  a  la  cogue,  boiled  (ben  cotte, 

8oft-boileil,  dure,   hard-boiled);  al 

piatto,  poached. 
Polenta,  boiled  maize. 
lasalata,  salad. 
Carciofi,  artichokes. 
Aspdragi,  asparagus  (expensive). 
Spinaci,  spinach  (mediocre). 
Piselli,  peas. 
Lenticchie,  lentils. 

Broccoli,  or  Cavoli  fiori,  cauliflower. 
Gobbi,  Cardi,  artichoke  stalks   (with 

sauce). 
Zucchino,  marrow,  squash. 
Fare,  beans. 

Fagiolini,  Corneiti,  French  beans. 
Mostarda   franfese,    sweet    mustard 

(mixed  with  vinegar). 
Mottarda  inglese  or  Sendpe,  hot 

mustard. 
Sale,  salt. 
Pepe,  pepper. 
Dolce,  sweet  dish. 
Budino  (in  Florence),  pudding. 
Frittata,  omelette. 
Frutta,    Oiafdinetlo  di  friitta,    fruit- 
desert  ;  frutta  secfhc,  nuts,  raisins, 

almond.s,  etc. 
Crostata  di  frutti,  fruit-tart. 
Crostata  di  pasta  sfoglia,    a  kind  of 

pastry. 
Fragole,  strawberries. 
Pera,  pear. 
Mela,  apple. 

Pirsiche,  Pesche,  peaches. 
Uva,  bunch  of  grapes. 
Fiehi,  figs. 
Nispole,  medlars. 
Noei,  nuts. 
Litnone,  lemon. 
Arancio,  orange. 
Finocchio,  root  of  fennel. 
Pane  francese,  bread  made  with  yeast 

(the  Italian  is  made  without). 
Burro,  butter. 
Formaggio,  cheese  (Oorgonzola,  verde 

or  bianco,  and  Stracchino). 


CAFfiS.  xxiii 

Wine  (vino  dapasto,  tatle-wlne;  nero,  red;  bianco,  ■white;  dolce, 
pastoso,  amabUe,  sweet;  secco,  dry;  del  paese,  nostrano,  vrine  of  the 
country)  is  usually  served  in  open  hottles  one-half,  one  fourth,  or 
one  fifth  of  a  litre  (un  mezzo  litro;  un  quarto ;  un  quinto  or  bicchiere). 
Wines  of  a  better  quality  are  sold  in  ordinary  quarts  and  pints. 

In  the  NoKTH  of  Italy  the  following  are  the  best  wines:  the  care- 
fully manufactured  Piedmontese  brands,  Barolo,  Nebiolo,  Barbera,  and 
Orignolino  (an  agreeable  table-wine),  and  the  sparkling  Asti  spvmante ;  the 
Yaltellina  wines  (best  SasseUa);  the  Veronese  ValpoUcella,  an  effervescent 
red  wine;  the  Vincentine  Marzeinino  and  Bveijanze  (a  white  sweet  wine); 
the  Paduan  BagnoU;  in  the  province  of  Treviso,  Conegliaiio,  Rahoso  di  fiave. 
Prosecco,  and  Verdiso;  in  IMine,  lie/osco;  the  wine  of /yoioj/zia,  partly  from 
French  vineyards;  Lainbrvsco,  etc. 

In  I.iGCRiA  the  local  wines  of  the  Val  Polcevera  (best  Coronatd)  and  the 
Cinque  Terre  share  the  popularity  of  the  Piedmontese  and  Tuscan  vintages. 

In  TcscAsr  the  best  wine"^  (almost  all  red)  are:  Chianti  (best  Broglio), 
Rufina  (best  Pomino),  Nipozzdno,  Altumcna,  and  Carmignano,  and  Alealico 
(sweet).  Ovvielo  and  Montepulciano  are  produced  farther  to  the  south.  — 
In  Tuscany  the  ordinary  table-wine,  which  is  met  with  all  over  N.  Italy 
under  the  name  'Chianti',  is  generally  served  in  a  'fiasco',  or  straw-covered 
llask  holding  three  ordinary  bottles,  but  only  the  quantity  consumed  is  paid 
for.  Smaller  bottles  may  be  obtained:  mezzo  fiasco  Q/i),  quarto  fiasco  (^t), 
fiaschetto  or  oitavino  (}/»). 

Like  the  trattorie  with  'Cucina  alia  casallnga  ('homely  fare'), 
the  OsTERiE,  or  ordinary  wine-shops,  are  almost  exclusively  fre- 
quented hy  the  lower  ranks.  The  prices  are  often  inscribed  on  the 
outside  of  the  shop  ('6',  '7',  '8',  meaning  that  half  a  litre  costs  6, 
7,  or  8  soldi).  Some  of  the  better  wine-rooms  ( Fiaschetterie)  selling 
Tuscan  wines  provide  also  very  tolerable  meals. 

Cafes  are  frequented  for  breakfast  and  luncheon,  and  in  the 
evening  by  numerous  consumers  of  ices,  coffee,  beer,  vermouth  (usu- 
ally with  Seltzer  water),  etc.  The  tobacco  smoke  is  often  very  dense. 

Caffi  nero,  or  coffee  without  milk,  is  usually  drunk  (15-25  c.  per  cup). 
Caffi  latte  is  coflfee  mixed  with  milk  before  served  (25-50  c;  ''cappuccino", 
or  small  cup,  cheaper).  Chocolate  (cioccolata)  costs  25-50  e.  Roll  (pane)  5, 
with  butter  (pane  e  burro)  20  c.     Cakes  or  biscuits  (paste)  5-15  c. 

Ices  (gelato)  of  every  possible  variety  are  supplied  at  the  cafes  at 
30-90  c.  per  portion;  or  half  a  portion  (i/iezza)  may  be  ordered.  Sorbetto, 
or  half-frozen  ice,  and  spremuto,  lemonade  flavoured  with  fruit-syrup,  are 
much  in  vogue  in  the  forenoon.  Oranita  is  water-ice  (limonata,  lemon ; 
aranciata,  orange;  di  caffi,  coffee).  Oassosa,  aerated  lemonade,  is  also  fre- 
quently ordered.  The  waiters  expect  a  sou  or  more,  according  to  the  amount 
of  the  payment. 

The  principal  Parisian  and  Viennese  newspapers  (giornali)  are  to  be 
found  at  all  the  larger  cafds,  English  less  often.  Italian  papers  (5-10  c.) 
are  everywhere  offered  by  newsvendors.  The  Corriera  delta  Sera  (p.  130) 
givea  most  of  the  foreign  despatches.  The  Roman  papers  Giornale  d" Italia 
and  Tribuna  also  are  much  read  in  Tuscany. 

Birrerie,  corresponding  to  the  French  'Brasseries',  are  now  found 
in  all  the  larger  towns  and  chief  resorts  of  visitors.  Munich,  Pilsen, 
or  Gratz  beer  may  generally  be  procured  at  these.  A  small  glass 
(piccola  tazza)  costs  30-40  c,  a  large  glass  (generally  holding  un 
mezzo  litro^  50-60  c.   Luncheon  may  usually  be  obtained  at  these. 

Cigars  (Sigari)  in  Italy  are  a  monopoly  of  Government,  and 
usually  bad.    Italians  prefer  strong  cigars,  e.y.  Toscani,  Napoletani, 


xxiY  SIGHTS.    THEATRES.    SHOPS. 

Cavours  (long  10  c,  short  71/2  <^0'  ^^  Virginias  (7^2.  12,  or  15  c). 
Milder  varieties  are  Brancas  (5  c),  Sellas  (7  c),  Orimaldis  (10  c), 
Medianitos  and  Minghettis  (15  c),  and  Trahucoa  (20  c).  Good  Manila 
Cigars  (20-30  c.)  and  Havanna  Cigars  (40c.-l  fr.  20  c.)  may  be 
bought  at  the  better  shops  in  the  large  towns,  and  also  foreign 
Cigarettes.  —  Travellers  who  import  their  own  cigars,  paying  the 
heavy  duty,  should  keep  the  customs  receipt,  as  they  are  liable  to 
be  challenged,  e.g.  by  the  octroi  officials  (p.  xiv).  —  Passers  by 
are  at  liberty  to  avail  themselves  of  the  light  burning  in  every  tobac- 
conist's, without  making  any  purchase. 

XI.   Sights.  Theatres.  Shops. 

The  larger  Churches  are  open  in  the  morning  till  12,  and  generally 
again  from  2,  3,  or  4  to  7  p.m.,  while  the  most  important  are  often 
open  the  whole  day.  Many  of  the  smaller  churches  are  open  only 
till  8  or  9  a.m.  Yisitors  may  inspect  the  works  of  art  even  during 
divine  service ,  provided  they  move  about  noiselessly ,  and  keep 
aloof  from  the  altar  where  the  clergy  are  officiating.  On  the  occasion 
of  festivals  and  for  a  week  or  two  before  Easter  the  works  of  art 
are  often  entirely  concealed  by  the  temporary  decorations.  Those 
always  covered  are  shown  by  the  verger  (sagrestano),  who  expects 
30-50  c.  from  a  single  traveller,  more  from  a  party  (p.  xv). 

Museoms,  picture-galleries,  etc.,  are  usually  open  from  9  or  10 
to  4  o'clock.  All  the  collections  which  belong  to  government  are 
open  free  on  Sun.  and  holidays,  but  on  week-days  a  charge  is  usually 
made.  Gratuities  are  forbidden.  These  collections  are  closed  on  the 
following  public  holidays:  New  Year's  Day,  Epiphany  (6th  Jan.), 
Festival  of  the  Annunciation  (25th  Mar.),  Easter  Sunday,  Ascension 
Day  (Ascensione),  Whitsunday,  Fete  de  Dieu  (Corpus  Ghristi),  the 
Festa  dello  Statute  (first  Sunday  in  June),  Assumption  of  the  Virgin 
(Assunzione;  15th  Aug.),  Nativity  of  the  Virgin  (8th  Sept.),  All 
Saints'  Day  (1st  Nov.),  and  Christmas  Day;  also  the  birthdays  of 
the  king  (11th  Nov.)  and  queen  (8th  Jan.).  The  arrangements, 
however,  vary  in  different  places.    For  Florence,  see  p.  463. 

Artists,  archseologists,  and  scholars,  on  making  application  to  the 
Ministry  of  Education  in  Rome  (Minisiero  della  I'ubblica  Istruzione)  on  a 
stamped  form  (1  fr.  20  c),  receive  free  tickets  (tessera  di  libera  ingresso), 
valid  all  over  the  country.  For  a  single  town  the  application  is  made  to 
the  Director  of  the  Gallery  (stamp  60  c).  The  application  must  be  ac- 
companied by  an  unmounted  photograph  and  by  a  certificate  from  a 
university  or  some  similar  body,  countersigned  by  an  Italian  consul  in 
the  applicant's  country  or  by  an  ambassador  (not  consul)  in  Italy.  A 
similar  permesso  is  required  by  those  who  wish  to  copy,  draw,  or  photo- 
graph (except  with  a  hand-camera)  in  any  of  the  museums. 

Theatres.  Performancesbegin  at  8, 8.30,  or  9,  and  terminate  at  mid- 
night or  later.  In  the  large  theatres,  in  which  the  season  (stagione) 
frequently  lasts  only  from  St.  Stephen's  Day  (Dec.  26th)  to  the  end 
of  the  Carnival,  operas  and  ballets  are  exclusively  performed.  The 
first  act  of  an  opera  is  usually  succeeded  by  a  ballet  of  three  acts 


POST  OFFICE.    TELEGRAPH.  xxv 

or  more.  The  pit  (platea),  to  which  the  ^biglietto  d'ingresio'  gives 
access,  has  standing-room  only ;  for  seats  additional  tickets  must 
be  taken  (usually  in  advance  in  the  larger  towns).  A  hox  (palco  di 
primo,  secondo,  terzo  ordine),  which  must  always  be  secured  in  ad- 
vance, is  the  pleasantest  place  for  ladies  or  for  a  party  of  several 
persons.  Evening  dress  is  generally  worn  in  the  boxes.  Other  re- 
served seats  are  the  poltrone  (front  stalls)  and  the  posti  distinti  or  sedie 
(rear  stalls).  In  some  of  the  larger  theatres  good  seats  may  be  ob- 
tained in  the  anfiteatro  or  prima  galleria.  The  theatre  is  the  usual 
evening-resort  of  the  Italians,  who  seldom  observe  strict  silence 
during  the  performance  of  the  orchestra.  The  intervals  between  the 
acts  are  usually  very  long.  Cloak-rooms  are  found  only  in  a  few  of 
the  best  theatres.  Gentlemen  usually  wear  their  hats  until  the 
curtain  rises. 

Shops.  Fixed  prices  have  of  late  become  much  more  general 
ill  N.  Italy,  but  a  reduction  may  usually  be  obtained  on  purchases 
of  large  amount.  The  traveller's  demeanour  should  be  polite  but 
decided.  Purchases  should  never  be  made  in  presence  of  a  valet- 
de-place  or  through  the  agency  of  a  hotel-employee.  These  indivi- 
duals, by  tacit  agreement,  receive  a  commission  on  the  puichase- 
money,  which  of  course  comes  out  of  the  purchaser's  pocket.  On  the 
other  hand,  the  presence  of  an  Italian  friend  is  a  distinct  advantage. 

An  active  trade  is  driven  in  spurious  antiquities,  especially  in  Venice 
and  Florence.  Ancient  works  of  art  should  never  be  purchased  without 
a  written  guarantee  of  their  authenticity.  The  'lucky  discoveries'  offered 
by  the  suialler  dealers  are  usually  nothing  but  traps  for  the  unwary. 

Some  caution  is  necessary  in  buying  articles  to  be  sent  home.  The 
full  amount  should  never  be  paid  until  the  package  has  arrived  and  its 
contents  have  been  examined.  If  the  shopkeeper  does  not  agree  to  a  written 
agreement  as  to  the  method  of  packing,  the  means  of  transport,  and  com- 
pensation for  breakages,  it  is  advisable  to  cut  the  transaction  short.  The 
transmission  of  large  objects  should  be  entrusted  to  a  goods-agent. 

XII.  Post  Office.  Telegraph. 

In  the  larger  towns  the  Post  Office  is  open  daily  from  8  a.m.  to 
8  or  9.30  p.m.  (also  on  Sundays  and  holidays);  in  smaller  places 
it  is  generally  closed  in  the  middle  of  the  day  for  two  or  three  hours. 

Letters  (whether  ^poste  restante\  Italian  ^ferma  in  posta  ,  or  to 
the  traveller's  hotel)  should  be  addressed  very  distinctly,  and  the 
name  of  the  place  should  be  in  Italian.  The  surname  (cognome  • 
Christian  name,  nome)  should  be  underlined.  "When  asking  for  let- 
ters the  traveller,  should  show  his  visiting-card  instead  of  pronounc- 
ing his  name.  Postage-stamps  (francobolli)  are  sold  at  the  post- 
oflices  and  tobacco-shops.  The  mail-boxes  (buca  or  cassetta)  are  lab- 
elled 'per  le  lettere\  for  letters,  and  ^per  le  stampe,  for  printed  matter. 

Lettkhs  of  15  grammes  (i  2  oz.,  about  the  weight  of  three  sous)  by 
town-post  6  c,  to  the  rest  of  Italy  20  c,  abroad  (per  resicro)  25  c.  The 
penalty  (segnatatta)  for  insufficiently  prepaid  letters  is  double  the  defi- 
ciency. —  Post  Cards  (cartolina  poUale)  for  town-pust  5  c,  for  the  rest 
of  Italy  and  abroad  10  c,   reply-cards  (con  ritposta  pagala),  inland  16  c., 


xxvi  CLIMATE. 

abroad  20  c.  —  Lettek  Cards  (biglietto  pottale)  for  town-post  5  c,  for  the 
rest  of  Italy  20  c,  for  abroad  25  c.  —  Book  Packets  (statnpe  soito  fascia), 
2  c.  per  50  grammes,  for  abroad  5  c.  —  Registration  Fee  (raccomanda- 
zione)  for  letters  for  the  same  town  and  printed  matter  10  c,  otherwise 
25  c.  The  packet  or  letter  must  be  inscribed  '■raccom(tndata\  —  Post  Office 
Orders,  see  p.  xii.  Sums  not  exceeding  25  fr.  may  be  sent  within  Italy 
by  the  so-called  cartolina  vaglia  (fee  10  c.  for  1-5  fr.  and  5  c.  for  each  5  ff. 
more).  Money  may  also  be  transmitted  by  telegraph.  To  secure  registered 
letters  or  the  payment  of  money  orders,  the  stranger  must  show  his  pass- 
port or  be  identified  by  two  witnesses  known  to  the  postal  authorities. 
It  is  therefore  often  convenient  to  arrange  to  have  the  money  sent  to 
one's  landlord. 

Parcel  Post.  Parcels  not  exceeding  5  kg.  (11  lbs.)  in  weight  or  20  cubic 
decimetres  in  size  (longest  dimension  not  more  than  60  centimetres,  or 
about  2  ft.)  may  be  sent  by  post  in  Italy  for  60  c. ;  to  England,  via  France, 
2  fr.  75  c.  The  parcels  must  be  carefully  packed  and  sealed  and  may  not 
contain  anything  in  the  shape  of  a  letter.  Parcels  for  abroad  must  be 
accompanied  by  two  customs  -  declarations  on  forms  for  the  purpose. 
Articles  not  liable  to  duty  (such  as  flowers,  etc.)  are  best  sent  as  samples 
of  no  value  (campione  sema  valore)  in  Italy  2  c.  per  60  gr.,  abroad  10  c. 
up  to  50  gr.,  then  5  c.  for  each  50  gr.  more. 

Telegrams.  For  telegrams  to  foreign  countries  the  following 
rate  per  word  is  charged  in  addition  to  an  initial  payment  of  1  fr.  : 
Great  Britain 26,  France  14,  Germanyl4,  Switzerland 6-14,  Anstria 
6-14,  Belgium  19,  HoUand  23,  Denmark  23,  Russia  42,  Sweden 
26,  Norway  34  c.  To  America  from  33/4  fr.  per  word  upwards,  ac- 
cording to  the  state.  Within  the  kingdom  of  Italy,  15  words 
1  fr.,  each  additional  word  5  c.  Telegrams  with  special  haste  (tele- 
grammi  urgenti),  which  take  precedence  of  all  others,  may  he  sent 
at  thrice  the  above  rates. 


XIII.    Climate.  Winter  Stations.  Seaside  Resorts.  Health. 

It  is  a  common  error  on  the  part  of  those  who  visit  Italy  for  the 
first  time  to  believe  that  beyond  the  Alps  the  skies  are  always  blue 
and  the  breezes  always  balmy.  It  is  true  that  the  traveller  who 
has  crossed  the  Spliigen,  the  Brenner,  or  the  St.  Gotthard  in  winter, 
and  finds  himself  in  the  district  of  the  N.  Italian  lakes,  cannot  fail 
to  remark  what  an  admirable  barrier  against  the  wind  is  afforded 
by  the  central  chain  of  the  Alps.  The  average  winter-temperature 
(December,  January,  and  February)  here  is  37-40° Fahr.  as  compared 
■with  28-32°  on  the  N,  side  of  the  mountains.  Places  nestling  close 
to  the  S.  base  of  the  Alps,  such  as  Locarno  (winter-temperature 
37°  Fahr.),  Pallanza  (38.5°),  Arco  (38.75°),  and  Oardone^Riviera 
(40°),  thus  form  an  excellent  intermediate  stage  between  the  bleak 
winter  of  N.  Europe  and  the  semi-tropical  climate  of  the  Riviera  or  S. 
Italy.  A  peculiarity  of  the  climate  here  is  afforded  by  the  torrents  of 
rain  which  maybe  expected  about  the  equinoctial  period.  The  masses 
of  warm  and  moisture-laden  clouds  driven  northwards  by  the  S.  wind 
break  against  the  Alpine  chain,  and  discharge  themselves  in  heavy 
showers,  which  fill  the  rivers  and  occasion  the  inundations  from 


CLIMATE.  xxvii 

which  Lombardy  not  unfrequently  suffers.  If,  however,  the  trav- 
eller continues  his  journey  towards  the  S.  through  the  plain  of  Lom- 
bardy he  again  enters  a  colder  and  windy  region.  The  whole  plain 
of  the  Po,  enclosed  by  snow-capped  mountains,  exhibits  a  climate 
of  a  thoroughly  continental  character;  the  summer  is  as  hot  as  that 
of  Sicily,  while  the  winter  is  very  cold,  the  mean  temperature 
being  below  35"  Fahr.  or  about  equal  to  that  of  the  lower  Rhine. 
In  Milan  the  thermometer  sometimes  sinks  below  zero.  Changes 
of  weather,  dependent  upon  the  direction  of  the  wind,  are  fre- 
quent; and  the  humidity  of  the  atmosphere,  occasioned  in  part  by 
the  numerous  canals  and  rice-marshes,  is  also  very  considerable. 
A  prolonged  residence  in  Turin  or  Milan  should  therefore  be  avoided 
by  invalids,  while  even  robust  travellers  should  be  on  their  guard 
against  the  trying  climate.  As  we  approach  the  Adriatic  Sea  the 
climate  of  the  Lombard  plain  loses  its  continental  character  and 
approximates  more  closely  to  that  of  the  rest  of  the  peninsula.  The 
climatic  peculiarities  of  Venice  are  described  at  p.  287. 

As  soon  as  we  cross  the  mountains  which  bound  the  S.  margin 
of  the  Lombard  plain  and  reach  the  Mediterranean  coast,  we  tind  a 
remarkable  change  in  the  climatic  conditions.  Here  an  almost  un- 
interrupted series  of  winter-resorts  extends  along  the  Ligurian 
Riviera  as  far  S.  as  Leghorn,  and  these  are  rapidly  increasing 
both  in  number  and  popularity.  The  cause  of  the  mild  and  pleas- 
ant climate  at  these  places  is  not  far  to  seek.  The  Maritime 
Alps  and  the  Ligurian  Apennines  form  such  an  admirable  screen 
on  the  N.,  that  the  cold  N.  winds  which  pass  these  mountains  do 
not  touch  the  district  immediately  at  their  feet,  but  are  first  per- 
ceptible on  the  sea  6-10  M.  from  the  coast.  It  is  of  no  unfrequent 
occurrence  in  the  Riviera  that  the  harbours  are  perfectly  smooth 
while  the  open  sea  is  agitated  by  a  brisk  tempest.  Most  of  the  towns 
and  villages  on  the  coast  lie  in  crescent -shaped  bays,  opening 
towards  the  S.,  while  on  the  landward  side  they  are  protected  by 
an  amphitheatre  of  hills.  These  hills  are  exposed  to  the  full  force 
of  the  sun's  rays,  and  the  limestone  of  which  they  are  composed 
absorbs  an  immense  amount  of  heat.  It  is  therefore  not  to  be 
wondered  at  that  these  hothouses  of  the  Riviera  show  a  higher  tem- 
perature in  winter  than  many  places  much  farther  to  the  S,  Thus, 
while  the  mean  temperature  of  Rome  in  the  three  coldest  months  is 
46°  Fahr.,  that  of  the  Riviera  is  48-50°  (Nervi  48°,  San  Remo  60°; 
Pisa,  on  the  other  hand,  only  42"). 

It  would,  however,  be  a  mistake  to  suppose  that  this  strip  of 
coast  is  entirely  free  from  wind.  The  rapid  heating  and  cooling  of 
the  strand  produces  numerous  light  breezes,  while  the  rarefaction 
of  the  masses  of  air  by  the  strength  of  the  sun  gives  rise  to  strong 
currents  rushing  in  from  the  E.  and  W.  to  supply  the  vacuum. 
The  most  notorious  of  these  coast-winds  is  the  Mistral,  which  is 
at  its  worst  at  Avignon  and  other  places  in  the  Rhone  Valley  (see 


xxviii  CLIMATE. 

Baedeker's  Southern  France).  The  N.E.  wind  on  the  contrary 
is  much  stronger  in  Alassio  and  San  Remo  than  on  the  coast  of 
Provence.  The  Scirocco  as  known  on  the  Ligurian  coast  is  by  no 
means  the  dry  and  parching  wind  experienced  in  Sicily  and  even 
at  Rome  ;  passing  as  it  does  over  immense  tracts  of  sea,  it  is  gener- 
ally charged  with  moisture  and  is  often  followed  by  rain. 

The  prevalent  belief  that  the  Riviera  has  a  moist  climate,  on 
account  of  its  proximity  to  the  sea,  is  natural  but  erroneous.  The 
atmosphere,  on  the  contrary,  is  rather  dry,  especially  in  the  "W. 
half  of  it,  while  the  humidity  rapidly  increases  as  we  approach 
the  Riviera  di  Levante.  The  same  holds  good  of  the  rainfall. 
While  San  Remo  has  45  rainy  days  between  November  and  April, 
Nervi  has  54,  and  Pisa  57.  The  average  number  of  rainy  days 
during  the  three  winter  months  in  the  Riviera  is  16.  Snow  is 
rarely  seen ;  it  falls  perhaps  once  or  twice  in  the  course  of  the 
winter,  but  generally  lies  only  for  a  few  hours,  while  many  years 
pass  without  the  appearance  of  a  single  snow-flake.  Fogs  are  very 
rare  on  the  Ligurian  coast;  but  a  heavy  dew-fall  in  the  evening  is 
the  rule.  In  comparison  with  the  Cisalpine  districts,  the  Riviera 
enjoys  a  very  high  proportion  of  bright,  sunny  weather. 

The  above  considerations  vnll  show  that  it  is  often  necessary  to 
discount  the  unpropitious  opinions  of  those  who  happen  to  have 
visited  the  Riviera  under  peculiarly  unfavourable  climatic  con- 
ditions. Not  only  do  the  ordinary  four  seasons  differ  from  each  other 
on  the  Riviera,  but  the  different  parts  of  winter  are  also  sharply 
discriminated.  A  short  rainy  season  may  be  counted  on  with  almost 
complete  certainty  between  the  beginning  of  October  and  the  middle 
of  November,  which  restricts,  but  by  no  means  abolishes,  open-air 
exercise.  Then  follows  from  December  to  February  usually  an  un- 
interrupted series  of  warm  and  sunshiny  days,  but  invalids  have 
sometimes  to  be  on  their  guard  against  wind.  March  here,  as  else- 
where in  the  south,  is  the  windiest  month  of  all,  but  is  much  less 
boisterous  in  the  Italian  part  of  the  Riviera  than  in  Provence. 
April  and  May  are  delightful  months  for  those  who  require  out-door 
life  in  a  warm  climate. 

The  mildness  of  the  climate  of  the  Riviera  requires,  perhaps,  no 
better  proof  than  its  rich  southern  vegetation.  The  Olive,  which  is 
already  found  in  the  neighbourhood  of  the  N.  Italian  lakes,  here 
attains  its  full  growth,  while  the  Eucalyptus  globulus  (which  grows 
rapidly  and  to  an  astonishing  height),  the  Orange,  the  Lemon,  and 
several  varieties  of  Palms  also  flourish. 

The  geological  character  of  the  Riviera  is  also  of  sanitary  signi- 
ficance. The  prevailing  formation  is  limestone,  which  absorbs  the 
sun's  rays  with  remarkable  rapidity  and  radiates  it  with  equal  speed, 
thus  forming  an  important  factor  in  making  the  most  of  the  winter 
sunshine.     On  account  of  its  softness  it  is  also  extensively  used 


CLIMATE.  ,  Txix 

for  road-making,  and  causes  the  notorious  dust  of  the  Riviera,  which 
forms  the  chief  ohjection  to  a  region  frequented  by  so  many  per- 
sons with  weak  lungs.  The  authorities  of  the  various  health-resorts, 
however,  take  great  pains  to  mitigate  this  evil  as  far  as  practicable. 
After  heavy  rain  the  roads  are  apt  to  be  very  muddy. 

The  advantages  that  a  winter-residence  in  the  Riviera,  in  contra- 
distinction to  the  climate  of  northern  Europe,  offers  to  invalids  and 
delicate  persons,  are  a  considerably  warmer  and  generally  dry  at- 
mosphere, seldom  disturbed  by  storms,  yet  fresh  and  pure,  a  more 
cheerful  sky,  and  comparative  immunity  from  rain.  The  'invalid's 
day',  or  the  time  during  which  invalids  may  remain  in  the  open 
air  with  impunity,  lasts  here  from  10  a.m.  to  4  p.m.  The  general 
effect  of  a  prolonged  course  of  open-air  life  in  the  Riviera  may  be 
described  as  a  gentle  stimulation  of  the  entire  physical  organism. 
It  is  found  particularly  beneficial  for  convalescents,  the  debilitated, 
and  the  aged;  for  children  of  scrofulous  tendency  ;  and  for  the  mar- 
tyrs of  gout  and  rheumatism.  The  climati,c  cure  of  the  Riviera  is 
also  often  prescribed  to  patients  with  weak  chests,  to  assist  in  the 
removal  of  the  after-effects  of  inflammation  of  the  lungs  or  pleurisy, 
or  to  obviate  the  danger  of  the  formation  of  a  chronic  pulmonary 
discharge.  The  dry  and  frequently-agitated  air  of  the  Riviera  is, 
however,  by  no  means  suitable  for  every  patient  of  this  kind,  and 
the  immediate  vicinity  of  the  sea  is  particularly  unfavourable  to 
cases  of  a  feverish  or  nervous  character.  The  stimulating  effects  of 
the  climate  are  then  often  too  powerful ,  producing  sleeplessness 
and  unwholesome  irritation.  The  dry  air  of  the  Riviera  di  Ponente 
is  also  prejudicial  to  many  forms  of  inflammation  of  the  wind-pipe 
and  bronchial  tubes,  which  derive  benefit  from  the  air  of  Nervi, 
Pisa,  or  Ajaccio.  Cases  of  protracted  nephritis  or  diabetes,  on  the 
contrary,  often  obtain  considerable  relief  from  a  residence  here. 

The  season  on  the  Ligurian  coast  lasts  from  about  the  begin- 
ning of  October  to  the  middle  of  May.  In  September  it  is  still  too 
hot,  and  in  March  it  is  so  windy  that  many  patients  are  obliged  to 
retire  farther  inland.  Many  invalids  make  the  mistake  of  leaving 
the  Riviera  too  soon,  and  thus  lose  all  the  progress  they  have  made 
during  the  winter,  through  reaching  home  in  the  unfavourable  trans- 
ition period  between  winter  and  spring.  It  is  better  to  spend  April 
and  May  at  some  intermediate  station,  such  as  Pallanza,  Cannero, 
Locarno^  Lugano,  or  Oardone  Riviera. 

Good  opportunities  for  sea-bathing  are  offered  at  many  points 
on  the  Mediterranean  coast  of  N.  Italy,  such  as  Alassio,  Savona, 
Pegll,  Spezia,  Vinreggio,  Leghorn,  and  Venice.  The  Mediterranean  is 
almost  tideless ;  it  contains  about  41  per  cent  of  common  salt,  a  con- 
siderably higher  proportion  than  the  Atlantic ;  its  average  tempera- 
ture during  the  bathing-season  is  71°  Fahr,  The  bathing-season 
on  the  Ligurian  coast  begins  in  April,  or  at  latest  in  May,  and  lasts 


ixx  .  HEALTH. 

till  November,  being  thus  much  longer  than  the  season  at  any  English 
seaside-resort. 

Most  travellers  must  in  some  degree  alter  their  mode  of  living 
whilst  in  Italy,  without  however  implicitly  adopting  the  Italian  style. 
Inhabitants  of  more  northern  countries  generally  become  unusually 
susceptible  to  cold  in  Italy,  and  therefore  should  not  omit  to  be  well 
supplied  with  warm  clothing  for  the  winter.  Woollen  underclothing  is 
especially  to  be  recommended.  A  cloak  or  shawl  should  be  carried  to 
neutralise  the  often  considerable  difference  of  temperature  between  the 
sunshine  and  the  shade.  In  visiting  picture-galleries  or  churches  on 
warm  days  it  is  advisable  to  drive  thither  and  walk  back ,  as  other- 
wise the  visitor  enters  the  cool  buUding  in  a  heated  state  and  has 
afterwards  no  opportunity  of  regaining  the  desirable  temperature 
through  exercise.  Exposure  to  the  summer-sun  should  be  avoided 
as  much  as  possible.  According  to  a  Roman  proverb,  dogs  and  for- 
eigners (Inglesi)  alone  walk  in  the  sun.  Christians  in  the  shade.  Um- 
brellas, or  spectacles  of  coloured  glass  (grey,  concave  glasses  to  pro- 
tect the  whole  eye  are  best ),  may  be  used  with  advantage.  Blue  veils 
are  recommended  to  ladies.  Repose  during  the  hottest  hours  is  ad- 
visable, and  a  moderate  siesta  is  often  refreshing. 

Great  care  should  also  be  taken  in  the  selection  of  an  apartment. 
Carpets  and  stoves  are  indispensable  in  winter.  A  southern  aspect  in 
winter  is  an  absolute  essential  for  delicate  persons,  and  highly  desir- 
able for  the  robust.  The  visitor  should  see  that  all  the  doors  and 
windows  close  satisfactorily,  Windows  should  be  closed  at  night.  If 
there  is  the  slightest  suspicion  of  dampness  in  the  bed-clothes, 
recourse  should  be  had  to  the  warming-pan fmeitereii/woco  nellettoj. 

Health.  English  and  German  medical  men  are  to  be  met  with 
in  the  larger  cities,  and  in  most  of  the  wintering-stations  of  the  Ri- 
viera. English  and  German  chemists,  where  available,  are  recom- 
mended in  preference  to  the  Italian,  whose  drugs  are  at  once  dearer 
and  of  poorer  quality.  Foreigners  frequently  suffer  from  diarrhoea  in 
Italy,  which  is  generally  occasioned  by  the  unwonted  heat.  The 
homcpopathic  tincture  of  camphor  may  be  mentioned  as  a  remedy, 
but  regulated  diet  and  thorough  repose  are  the  chief  desiderata.  A 
small  portable  medicine-case,  such  as  those  prepared  and  stocked  with 
tabloid  drugs  by  Messrs.  Burroughs^  Wellcome,  ^'  Co.,  Holborn  Via- 
duct, London,  wiU  often  be  found  useful. 

E.  A.  Reynold  BaWs  'Mediterranean  Winter  Resorts'  (London;  5th  ed., 
1904)  may  be  consulted  for  farther  particulars. 


Italian  Art. 

A  Historical  Sketch  by  Professor  Anton  Springer. 


One  of  the  primary  objects  of  the  enlightened  traveller  in  Italy 
is  usually  to  form  some  acquaintance  with  its  treasures  of  art. 
Even  those  whose  usual  avocations  are  of  the  most  prosaic  ^J!Z^Z'^ 
nature  unconsciously  become  admirers  of  poetry  and  art  m 
Italy.  The  traveller  here  finds  them  so  interwoven  with  scenes  of 
everyday  life,  that  he  encounters  their  influence  at  every  step,  and 
involuntarily  becomes  susceptible  to  their  power.  A  single  visit 
can  hardly  suffice  to  enable  any  one  justly  to  appreciate  the 
numerous  works  of  art  he  meets  with  In  the  course  of  his  tour,  nor 
can  a  guide-book  teach  him  to  fathom  the  mysterious  depths  of 
Italian  creative  genius,  the  past  history  of  which  is  particularly  at- 
tractive; but  the  perusal  of  a  few  remarks  on  this  subject  will  be 
found  materially  to  enhance  the  pleasure  and  facilitate  the  researches 
of  even  the  most  unpretending  lover  of  art.  Works  of  the  highest  class, 
the  most  perfect  creations  of  genius,  lose  nothing  of  their  charm  by 
being  pointed  out  as  specimens  of  the  best  period  of  art;  while 
those  of  inferior  merit  are  invested  with  far  higher  interest  when 
they  are  shown  to  be  necessary  links  in  the  chain  of  development, 
and  when,  on  comparison  with  earlier  or  later  works,  their  relative 
defects  or  superiority  are  recognised.  The  following  observations, 
therefore,  will  hardly  be  deemed  out  of  place  in  a  work  designed  to 
aid  the  traveller  in  deriving  the  greatest  possible  amount  of  enjoy- 
ment and  instruction  from  his  sojourn  in  Italy. 

The  two  great  epochs  in  the  history  of  art  which  principally 

arrest  the  attention  are  those  of  Classic  Antiquity,  and  of  the  ^      „,     „n, 
A  o  1  ...  ■,  ■,  r,  Classic  A  N9 

Ibth  century,  the  culminating  period  of  the  so-called  itcnctis-     Renais- 

sance.    The  intervening  space  of  more  than  a  thousand  years       sance 

is  usually,  with  much  unfairness,   almost  entirely  ignored ;      eriod.s. 

for  this  interval  not  only  continues  to  exhibit  vestiges  of  the  first 

epoch,  but  gradually  paves  the  M'ay  for  the  second.    It  is  a  common 

error  to  suppose  that  in  Italy  alone  the  character  of  ancient  art  can 

be  thoroughly  appreciated.   This  idea  dates  from  the  period  when  no 

precise  distinction  was  made  between  Greek  and  Roman  art,    when 

the  connection  of   the  former  with  a  particular  land  and  nation, 

and  the  tendency  of  the  latter  to  pursue   an   independent   course 

were  alike  overlooked.     Now ,   however ,  that  we  are   acquainted 

with    more     numerous     Greek    originals,     and    have    acquired   a 

deeper   insight   into  the   development  of  Hellenic  art,   an  iudis- 


xixii  ITALIAN  ART. 

criminate  confusion  of  Greek  and  Roman  styles  is  no  longer  to  te 
Geeek  and  apprehended.  We  are  now  -well  aware  that  the  highest  per- 
RoMAN  fection  of  ancient  architecture  is  realised  in  the  Hellenic 
Styles  dis-  temple  alone.  The  Doric  order,  in  which  majestic  gravity  is 
TrNGuisHED.  gxpresscd  by  massive  proportions  and  by  a  symmetrical  de- 
coration, which  at  the  same  time  subserves  a  practical  purpose, 
and  the  Ionic  structure,  with  its  lighter  and  more  graceful  char- 
acter, exhibit  a  creative  spirit  entirely  different  from  that  mani- 
fested in  the  sumptuous  Roman  edifices.  Again,  the  most  valuable 
collection  of  ancient  sculptures  in  Italy  is  incapable  of  affording  so 
admirable  an  insight  into  the  development  of  Greek  art  as  the  sculp- 
tures of  the  Parthenon  and  other  fragments  of  Greek  temple- archi- 
tecture preserved  in  the  British  Museum.  But,  while  instruction  is 
afforded  more  abundantly  by  other  than  Italian  sources,  ancient  art 
is  perhaps  thoroughly  admired  in  Italy  alone ,  where  works  of  art 
encounter  the  eye  with  more  appropriate  adjuncts,  and  where  climate, 
scenery,  aTid  people  materially  contribute  to  intensify  their  impres- 
siveness.  An  additional  facility,  moreover,  is  afforded  by  the  circum- 
stance ,  that  in  accordance  with  an  admirable  custom  of  classic 
antiquity  the  once  perfected  type  of  a  plastic  figure  was  not  again 
arbitrarily  abandoned,  but  rigidly  adhered  to,  and  continually  re- 
produced. Thus  in  numerous  cases,  where  the  more  ancient  Greek 
original  had  been  lost,  it  was  preserved  in  subsequent  copies;  and 
even  in  the  works  of  the  Roman  imperial  age  Hellenic  creative  talent 
is  still  reflected. 

This  supremacy  of  Greek  intellect  in  Italy  was  established  in  a 
Greece  twofold  manner.  In  the  first  place  Greek  colonists  intro- 
sopREME  IK  duced  their  ancient  native  style  into  their  new  homes.  This 
^^'^-  is  proved  by  the  existence  of  several  Doric  temples  in  Sicily, 
by  the  so-called  Temple  of  Neptune  at  Paestum,  as  well  as  by  the 
ruins  at  Metapontum.  But,  in  the  second  place,  the  art  of  the  Greeks 
did  not  attain  its  universal  supremacy  in  Italy  till  a  later  period, 
when  Hellas,  nationally  ruined,  had  learned  to  obey  the  dictates  of 
her  mighty  conqueror,  and  the  Romans  had  begun  to  combine  with 
their  political  superiority  the  reflnements  of  more  advanced  culture. 
The  ancient  scenes  of  artistic  activity  in  Greece  (Athens  for  example) 
became  re-peopled  at  the  cost  of  Rome;  Greek  works  of  art  and 
Greek  artists  were  introduced  into  Italy;  and  ostentatious  pride  in 
the  magnificence  of  booty  acquired  by  victory  led  by  an  easy  transi- 
tion to  a  taste  for  such  objects.  To  surround  themselves  with  artistic 
decoration  thus  gradually  became  the  universal  custom  of  the  Ro- 
mans, and  the  foundation  of  public  monuments  came  to  be  regarded 
as  an  indispensable  duty  of  government. 

Although  the  Roman  works  of  art  of  the  imperial  epoch  are 

Roman     deficient  in  originality  compared  with  the  Greek  ,  yet  their 

Architec-  authors  never  degenerate  into  mere  copyists,  or  entirely  re- 

TDRE.     nounce  independent  effort.   This  remark  applies  especially  to 


ITALIAN  ART.  xxxiil 

their  Architbctukb.  Independently  of  the  Greeks,  the  ancient  Italian 
nations,  and  with  them  the  Romans,  had  acquired  a  knowledge  of 
stone-cutting,  and  discovered  the  method  of  constructing  arches 
and  vaulting.  With  this  technically  and  scientilic.ally  important 
art  they  aimed  at  combining  Greek  forms,  the  column  supporting 
the  entablature.  The  sphere  of  architecture  was  then  gradually  ex- 
tended. One  of  the  chief  requirements  was  now  to  construct  edifices 
with  spacious  interiors,  and  several  stories  in  height.  No  precise 
model  was  afforded  by  Greek  architecture,  and  yet  the  current 
Greek  forms  appeared  too  beautiful  to  be  lightly  disregarded.  The 
Romans  therefore  preferred  to  combine  them  with  the  arch-prin- 
ciple, aTid  apply  this  combination  to  their  new  architectural  designs. 
The  individuality  of  the  Greek  orders,  and  their  originally  un- 
alterable coherence  were  thereby  sacrificed,  and  divested  of  much 
of  their  importance;  that  which  once  possessed  a  definite  organic 
significance  frequently  assumed  a  superti<-ial  and  decorative  charac- 
ter: but  the  aggregate  effect  is  always  imposing.  Attention  must  be 
directed  to  the  several-storied  structures,  in  which  the  tasteful  as- 
cending gradation  of  the  component  parts,  from  tlu:  more  massive 
(Doric)  to  the  lighter  (Corinthian),  chiefly  anests  the  eye;  and  the 
vast  and  artistically  vaulted  interiors,  as  well  as  the  structures  of  a 
merely  decorative  description,  must  also  be  examined,  in  order  that 
the  chief  merits  of  Roman  art  may  be  understood.  In  the  use  of 
columns  in  front  of  closed  wal's  (e.?.  as  members  of  a  facade),  in 
the  construction  of  domes  above  circular  interiors,  and  of  cylindrical 
and  groined  vaulting  over  oblong  spaces,  the  Roman  edifices  have 
served  as  models  to  posterity,  and  the  imitations  have  often  fallen 
short  of  the  originals. 

It  is  true  that  in  the  districts  to  which  this  Tolume  of  the  Hand- 
book is  devoted,  the  splendour  and  beauty  of  ancient  art  is  not  so 
pr^nninently  illustrated  as  in  Rome  or  S.  Italy.  Nevertheless  N. 
Italy  also  contains  many  interesting  relics  of  Roman  architecture 
(such  as  the  Amphitheatre  at  Verona,  the  Triumphal  Arches  a.tAosta 
and  Susa,  etc.),  and  the  traveller  will  find  ample  food  for  his  ad- 
miration in  the  antique  sculptures  in  the  collections  at  Turin,  Brescia, 
Mantua,  and  Florence.  —  Upper  Italy  and  Tuscany  stand,  on  the 
other  hand,  in  the  very  forefront  of  the  artistic  life  of  the  middle 
ages  and  early  Renaissance,  and  Venice  may  boast  of  having  brilliant- 
ly unfolded  the  glories  of  Italian  painting  at  a  time  when  that  art 
had  sunk  at  Rome  to  its  nadir.  In  order,  however,  to  place  the 
reader  at  a  proper  point  of  view  for  appreciating  the  development 
of  art  in  N.  Italy,  it  is  necessary  to  give  a  sketch  of  the  progress 
of  Italian  art  in  general  from  the  early  middle  ages  onwards. 

In  the  4th  century  the  heathen  world,   which  had  long  been  in 
a  tottering  condition,  at  length  became  Christianised,  and  a    chkistiam 
new  period  of  art  began.    This  is  sometimes  erroneously  re-       rrKioD 
garded  as  the   result  of  a    forcible   rupture    from    ancient      '^'  ■'^^' 

Baedeker.   Italy  I.   13th  Edit.  C 


xxxiv  ITALIAN  ART. 

Roman  art,  and  a  sudden  and  spontaneous  invention  of  a  new  style. 
But  the  eye  and  the  hand  adhere  to  custom  more  tenaciously  than 
the  mind.  While  new  ideas,  and  altered  views  of  the  character  of 
the  Deity  and  the  destination  of  man  were  entertained,  the  wonted 
forms  were  still  necessarily  employed  in  the  expression  of  these 
thoughts.  Moreover  the  heathen  sovereigns  had  by  no  means  been 
unremittingly  hostile  to  Christianity  (the  most  bitter  persecutions 
did  not  take  place  till  the  3rd  century),  and  the  new  doctrines  were 
permitted  to  expand,  take  deeper  root,  and  organise  themselves  in 
the  midst  of  heathen  society.  The  consequence  was,  that  the  trans- 
ition from  heathen  to  Christian  ideas  of  art  was  a  gradual  one,  and 
that  in  point  of  form  early  Christian  art  continued  to  follow  up  the 
lessouo  of  the  ancient.  The  best  proof  of  this  is  afforded  by  the 
paintings  in  the  Roman  Catacombs,  the  burial-places  of  the  early 
Christian  community.  In  these  the  artistic  principles  of  pagan 
antiquity  are  adhered  to,  alike  in  decorative  forms,  design,  choice 
of  colour,  grouping  of  figures,  and  treatment  of  subject.  Even  the 
Sarcophagus  Sculptures  of  the  4th  and  5th  centuries  differ  in 
purport  only,  and  not  in  technical  treatment,  from  the  type  exhibited 
in  the  tomb-reliefs  of  heathen  Rome.  Five  centuries  elapsed  be- 
fore a  new  artistic  style  sprang  up  in  painting  and  in  the  greatly 
neglected  plastic  arts.  Meanwhile  architecture  had  developed  itself 
commensurately  with  the  requirements  of  Christian  worship,  and, 
in  connection  with  the  new  modes  of  building,  painting  acquired  a 
different  character. 

The  term  Basilica  Style  is  often  emplojed  to  designate  early 
Chukch  Christian  architecture  down  to  the  10th  century.  The  Roman 
Arouitec-  forensic  basilicas,  which  are  proved  to  have  existed  in  the 
TUBE.  fQjj^  Qf  most  of  the  towns  of  the  Roman  empire,  served  as 
courts  of  judicature  and  public  assembly-halls.  The  belief  that 
these  were  afterwards  fitted  up  for  the  purposes  of  Christian  worship 
is  now  exploded,  but  in  their  main  features  they  served  as  models 
for  the  construction  of  Christian  churches.  After  the  4th  cent, 
the  following  became  the  established  type  of  the  Christian  bas- 
ilica. In  front  is  a  quadrangular  fore- court  (atrium),  of  the  same 
width  as  the  basilica  itself,  surrounded  with  an  open  colonnade 
and  provided  with  a  fountain  (cantharus)  for  the  ablutions  of  the 
devout.  This  forms  the  approach  to  the  interior  of  the  church, 
which  Txsually  consisted  of  a  nave  and  two  aisles,  the  latter  lower 
than  the  former,  and  separated  from  it  by  two  rows  of  columns,  the 
whole  terminating  in  a  semicircle  (apsis).  In  front  of  the  apse  there 
was  sometimes  a  transverse  space  (transept);  the  altar,  surmounted 
by  a  columnar  structure,  occupied  a  detached  position  in  the  apse ; 
the  space  in  front  of  it,  bounded  by  cancelli  or  railings,  was 
destined  for  the  choir  of  officiating  priests,  and  contained  the  two 
pulpits  (ambones)  where  the  gospel  and  epistles  were  read.  Un- 
like the  ancient  temples ,    the  early-Christian  basilicas  exhibit  a 


ITALIAN  ART.  xxxv 

neglect  of  external  architecture,  the  chief  importance  being  at- 
tached to  the  interior,  the  decorations  of  which,  however,  especially 
in  early  mediaeval  times,  were  often  procured  by  plundering  the 
ancient  Roman  edifices,  and  transferring  the  spoil  to  the  churches 
with  little  regard  to  harmony  of  style  and  material.  The  most  ap- 
propriate ornaments  of  the  churches  were  the  metallic  objects,  such 
as  crosses  and  lustres,  and  the  tapestry  bestowed  on  them  by  papal 
piety ;  while  the  chief  decoration  of  the  walls  consisted  of  mosaics, 
especially  those  covering  the  background  of  the  apse  and  the 
'triumphal'  arch  which  separates  the  apse  from  the  nave.  The 
mosaics,  as  far  at  least  as  the  material  was  concerned,  were  of  a 
sterling  monumental  character ,  and  contributed  to  give  rise  to  a 
new  style  of  pictorial  art;  iu  them  ancient  tradition  was  for  the 
lirst  time  abandoned,  and  the  harsh  and  austere  style  erroneously 
termed  Byzantine  gradually  introduced. 

Christian  art  originated   at  Rome ,    but   its    development   was 
actively  promoted  in  other  Italian  districts,  especially  at  Ravenna, 
where  during  the  Ostrogothic  supremacy  (493-539),  as  well 
as  under    the    succeeding  Byzantine    empire,    architecture      g^i'^''*'^ 
was  zealously  cultivated.    The  basilica-type  was  there  more 
highly  matured,   the  external  architecture  enlivened  by  low  arches 
and  projecting  buttresses,   and  the  capitals  of  the  columns  in  the 
interior  appropriately  moulded  with  reference  to  the  superincumb- 
ent arches.     There ,   too ,   the    art  of   mosaic  painting  was  sedu- 
lously  cultivated,  exhibiting  in  its  earlier  specimens  (in  the  Bap- 
tistery of  the  Orthodox  and  Tomb  of  Qalla  Placidia)  greater  technical 
excellence  and   better  drawing  thaii  the  contemporaneous  Roman 
works.    At  Ravenna  the  Western  style  also  appears  in  combination 
with  the  Eastern,  and  the  church  of  San  Vitale  (dating  from  547j 
may  be  regarded  as  a  fine  example  of  a  Byzantine  structure. 

The  term  'Btzantink'  is  often  misapplied.  Every  work  of  the 
so-called  dark  centuries  of  the  middle  ages,  everything  in  archi- 
tecture that  intervenes  between  the  ancient  and  the  Gothic,  every- 
thing in  painting  which  repels  by  its  uncouth  ,  ill-proportioned 
forms,  is  apt  to  be  termed  Byzantine ;  and  it  is  commonly  supposed 
that  the  practice  of  art  in  Italy  was  entrusted  exclusively  to  By- 
zantine hands  from  the  fall  of  the  Western  Empire  to  an  ad- 
vanced period  of  the  13th  century.  This  belief  in  the  universal 
and  unqualified  prevalence  of  the  Byzantine  style,  as  well  as  the 
idea  that  it  is  invariably  of  a  clumsy  and  lifeless  character,  is 
entirely  unfounded.  The  forms  of  Byzantine  architecture  are 
at  least  strongly  and  clearly  defined.  While  the  basilica  is  a 
long -extended  hall,  over  which  the  eye  is  compelled  to  range 
until  it  finds  a  natural  resting-place  iu  the  recess  of  the  apse, 
every  Byzantine  structure  may  be  circumscribed  with  a  curved 
line.  The  aisles ,  which  in  the  basilica  run  parallel  with  the 
nave,     degenerate    in    the    Byzantine    style   to    narrow    and    in- 


xxxvl  ITALIAN  ART. 

significant  passages ;  the  apse  loses  its  intimate  connection  with 
the  nave,  being  separated  from  it;  the  most  conspicuous  feature 
in  the  huilding  consists  of  the  central  square  space ,  bounded 
by  four  massive  pillars  which  support  the  dome.  These  are  the 
essential  characteristics  of  the  Byzantine  style,  which  culminates 
in  the  magnificent  church  of  St.  Sophia  at  Constantinople,  and  pre- 
vails throughout  Oriental  Christendom,  but  in  the  West,  including 
Italy  only,  occurs  sporadically.  With  the  exception  of  the  churches 
of  San  Vitale  at  Ravenna,  and  St.  Mark  at  Venice,  the  edifices  of 
Lower  Italy  alone  show  a  frequent  application  of  this  style. 

The  Byzantine  imagination  does  not  appear  to  have  exercised  a 

Growth    greater  influence  on  the  growth  of  other  branches  of  Italian 

OF  Art  is  art  than  on  architecture.     A  brisk  traffic  in  works  of  art 

Italy,  was  carried  on  by  Venice,  Amalfi,  and  other  Italian  towns, 
with  the  Levant;  the  position  of  Constantinople  resembled  that  of 
the  modern  Lyons ;  silk  wares ,  tapestry ,  and  jewellery  were  most 
highly  valued  when  imported  from  the  Eastern  metropolis.  By- 
zantine artists  were  always  welcome  visitors  to  Italy ,  Italian  con- 
noisseurs ordered  works  to  be  executed  at  Constantinople,  chiefly 
those  in  metal ,  and  the  superiority  of  Byzantine  workmanship 
was  universally  acknowledged.  All  this,  however,  does  not  justify 
the  inference  that  Italian  art  was  quite  subordinate  to  Byzantine. 
On  the  contrary ,  notwithstanding  various  external  influences,  it 
un_derwent  an  independent  and  unbiassed  development,  and  never 
entirely  abandoned  its  ancient  principles.  A  considerable  interval 
indeed  elapsed  before  the  fusion  of  the  original  inhabitants  with 
the  early  mediaeval  immigrants-  was  complete,  before  the  aggregate 
of  difi'erent  tribes ,  languages ,  customs,  and  ideas  became  blended 
into  a  single  nationality,  and  before  the  people  attained  sufficient 
concentration  and  independence  of  spirit  to  devote  themselves 
successfully  to  the  cultivation  of  art.  Unproductive  in  the  pro- 
vince of  art  as  this  early  period  is ,  yet  an  entire  departure  from 
native  tradition,  or  a  serious  conflict  of  the  latter  with  extraneous 
innovation  never  took  place.  It  may  be  admitted ,  that  in  the 
massive  columns  and  cumbrous  capitals  of  the  churches  of  Upper 
Italy ,  and  in  the  art  of  vaulting  which  was  developed  here  at  an 
early  period ,  symptoms  of  the  Germanic  character  of  the  inhabit- 
ants are  manifested,  and  that  in  the  Lower  Italian  and  especially 
Sicilian  structures ,  traces  of  Arabian  and  Norman  influence  are 
unmistakable.  In  the  essentials,  however,  the  foreigners  continue 
to  be  the  recipients ;  the  might  of  ancient  tradition  and  the 
national  idea  of  form  might  be  repressed  but  they  could  not  be 
obliterated. 

About  the  middle  of  the  11th  century  a  zealous  and  promis- 

RoMAN-  ^^S  artistic  movement  took  place  in  Italy ,  and  the  seeds 
ESQUE  were  sown  which  three  or  four  centuries  later  yielded  so 
Style,    luxuriant  a  growth.     As  yet  nothing  was  matured,  nothing 


ITALIAN  ART.  xxxvii 

completed,  the  aim  was  obscure,  the  resources  insufficient ;  mean- 
while architecture  alone  satisfied  artistic  requirements ,  the  at- 
tempts at  painting  and  sculpture  being  barbarous  in  the  ex- 
treme ;  these,  however,  were  the  germs  of  the  subsequent  devel- 
opment of  art  observable  as  early  as  the  11th  and  12th  centuries. 
This  has  been  aptly  designated  the  Romanesque  period  (11th- 
13th  cent."!,  and  the  then  prevalent  forms  of  art  the  Ro- 
manesque Style.  As  the  Romance  languages ,  notwithstanding 
alterations,  additions,  and  corruptions,  maintain  their  filial  rela- 
tion to  the  language  of  the  Romans,  so  Romanesque  art,  in 
spite  of  its  rude  and  barbarous  aspect,  reveals  its  immediate 
descent  from  the  art  of  that  people.  The  Tuscan  towns  were  the 
principal  scene  of  the  prosecution  of  medieval  art.  There  an  in- 
dustrial population  gradually  arose,  treasures  of  commerce  were 
collected,  independent  views  of  life  were  acquired  in  active  party 
conflicts,  loftier  common  interests  became  interwoven  with  those 
of  private  life,  and  education  entered  a  broader  and  more  enlight- 
ened track;  and  thus  a  taste  for  art  also  was  awakened,  and 
aesthetic  perception  developed  itself.  When  Italian  architecture 
of  the  Romanesque  period  is  examined,  the  difference  between  it& 
character  and  that  of  contemporaneous  northern  works  is  at  once 
apparent.  In  the  latter  the  principal  aim  is  perfection  in  the 
construction  of  vaulting.  French,  English,  and  German  churches 
are  unquestionably  the  more  organically  conceived,  the  individual 
parts  are  more  inseparable  and  more  appropriately  arranged.  But 
the  subordination  of  all  other  aims  to  that  of  the  secure  and  ac- 
curate formation  of  the  vaulting  does  not  admit  of  an  unrestrained 
manifestation  of  the  sense  of  form.  The  columns  are  apt  to  be 
heavy,  symmetry  and  harmony  in  the  constituent  members  to  be 
disregarded.  On  Italian  soil  new  architectural  ideas  are  rarely 
found,  constructive  boldness  not  being  here  the  chief  object ;  on  the 
other  hand,  the  decorative  arrangements  are  richer  and  more  grate- 
ful, the  sense  of  rhythm  and  symmetry  more  pronounced.  The  cath- 
edral of  Pisa  or  the  church  of  San  Miniato  near  Florence,  both 
founded  as  early  as  the  11th  century,  may  be  taken  as  an  example 
of  this.  The  interior  with  its  rows  of  columns ,  the  mouldings 
throughout,  and  the  flat  ceiling  recall  the  basilica-type ;  while  the 
exterior,  especially  the  facade  destitute  of  tower,  with  the  small 
arcades  one  above  the  other,  and  the  variegated  colours  of  the  courses 
of  stone,  presents  a  tine  decorative  effect.  At  the  same  time  the  con- 
struction and  decoration  of  the  walls  already  evince  a  taste  for  the 
elegant  proportions  which  we  admire  in  later  Italian  structures; 
the  formation  of  the  capitals,  and  the  design  of  the  outlines  prove 
that  the  precepts  of  antiquity  were  not  entirely  forgotten.  A  pe- 
culiar conservative  spirit  pervades  the  medieval  architecture  of 
Italy;  artists  do  not  aim  at  an  unknown  and  remote  object; 
the  ideal  which  they  have  in  view ,   although  perhaps  instinctive- 


xxxvili  ITALIAN  ART. 

ly  only,  lies  in  the  past;  to  conjure  up  tliis,  and  bring  about 
a  Renaissance  of  the  antique,  appears  to  be  the  goal  of  their 
aspirations.  They  apply  themselves  to  their  task  with  calmness 
and  concentration,  they  indulge  in  no  bold  or  novel  schemes,  but 
are  content  to  display  their  love  of  form  in  the  execution  of  details. 
What  architecture  as  a  whole  loses  in  historical  attraction  is 
compensated  by  the  beauty  of  the  individual  edifices.  While 
the  North  possesses  structures  of  greater  importance  in  the  develop- 
ment of  art,  Italy  boasts  of  a  far  greater  number  of  pleasing  works. 
There  is  hardly  a  district  in  Italy  which  does  not  boast  of 
interesting  examples  of  Romanesque  architecture.     At  Verona  we 

Roman-    ^^Y  mention  the  famous  church  of  St.  Zeno,  with  its  sculp- 

ESQUE  tured  portals.  In  the  same  style  are  the  cathedrals  of  Fer- 
Churcues  fara,  Modena.  Parma,  and  Piacenza,  the  church  of  Sant'  Am- 
brogio  at  Milan.,  with  its  characteristic  fore-court  and  facade,  and 
that  of  San  Michele  at  Pavia.  Tuscany  abounds  with  Romanesque 
edifices.  Among  these  the  palm  is  due  to  the  cathedral  of  Pisa,  a 
church  of  spacious  dimensions  in  the  interior,  superbly  embellished 
with  its  marble  of  two  colours  and  the  rows  of  columns  on  its  facade. 

.  To  the  same  period  also  belong  the  neighbouring  Leaning  Tower  and 
the  Baptistery.  The  churches  of  Lucca  are  copies  of  those  at  Pisa. 
Those  of  Florence,  however,  such  as  the  octagonal,  dome-covered 
Baptistery  and  the  above-mentioned  church  of  San  Miniato,  exhibit 
an  independent  style. 

The  position  occupied  by  Italy  with  regard  to  Gothic  archi- 
tecture is  thus  rendered  obvious.     She  could  not  entirely 

Style"  ignore  its  iivfiuence,  although  incapable  of  according  an  un- 
conditional reception  to  this,  the  highest  development  of 
vault-architecture.  Gothic  was  introduced  into  Italy  in  a  mature 
and  perfected  condition.  It  did  not  of  necessity,  as  in  France, 
develop  itself  from  the  earlier  (Romanesque)  style,  its  progress 
cannot  be  traced  step  by  step;  it  was  imported  by  foreign  architects 
and  adopted  as  being  in  consonance  with  the  tendency  of  the  age ; 
it  found  numerous  admirers  among  the  mendicant  orders  of  monks 
and  the  humbler  classes  of  citizens,  but  could  never  quite  dis- 
engage itself  from  Italianising  influences.  It  was  so  far  transformed 
that  the  constructive  constituents  of  Gothic  are  degraded  to  a  de- 
corative office,  and  the  national  taste  thus  became  reconciled  to  it. 
The  cathedral  of  Milan  cannot  be  regarded  as  a  fair  specimen  of 
Italian  Gothic,  but  this  style  must  rather  be  sought  for  in  the 
mediaeval  cathedrals  of  Florence,  Siena,  Orvieto,  in  the  church  of 
San  Petronio  at  Bologna,  and  in  numerous  secular  edifices,  such 
as  the  Loggia  dei  Lanzi  at  Florence,  the  communal  palaces  of 
towns  in  Central  Italy,  and  the  palaces  of  Venice.  An  acquaintance 
with  true  Gothic  construction,  so  contracted  notwithstanding  all  its 
apparent  richness,  so  exclusively  adapted  to  practical  requirements, 
can  certainly  not  be  acquired  from  these  cathedrals.     The  spacious 


ITALIAN  ART.  xxxix 

interior,  inviting,  as  it  were,  to  calm  enjoyment,  while  the  cath- 
edrals of  the  north  seem  to  produce  a  sense  of  oppression,  the  pre- 
dominance of  horizontal  lines,  the  playful  application  of  pointed 
arches  and  gables ,  of  flnials  and  canopies  ,  prove  that  an  organic 
coherence  of  the  different  architectural  distinguishing  members  was 
here  but  little  considered.  The  characteristics  of  Gothic  architecture, 
the  towers  immediately  connected  with  the  facade,  and  the  promi- 
nent flying  buttresses  are  frequently  wanting  in  Italian  Gothic  edi- 
fices, ■ —  whether  to  their  disadvantage,  it  may  be  doubted.  It  is  not 
so  much  the  sumptuousness  of  the  materials  which  disposes  the 
spectator  to  pronounce  a  lenient  judgment,  as  a  feeling  that  Italian 
architects  pursued  the  only  course  by  which  the  Gothic  style  could 
be  reconciled  vnth  the  atmosphere  and  light,  the  climate  and  natural, 
features  of  Italy.  Gothic  lost  much  of  its  peculiar  character  in  Italy, 
but  by  these  deviations  from  the  customary  type  it  there  became 
capable  of  being  nationalised,  especially  as  at  the  same  period  the 
other  branches  of  art  also  aimed  at  a  greater  degree  of  nationality,  and 
entered  into  a  new  combination  with  the  fundamental  trait  of  the 
Italian  character,  that  of  retrospective  adherence  to  the  antique. 

The  apparently  sudden  and  unprepared-for  revival  of  ancient 
ideals  in  the  13th  century  is  one  of  the  most  interesting  phenomena 
in  the  history  of  art.  The  Italians  themselves  could  only  revivai. 
account  for  this  by  attributing  it  to  chance.  The  popular  of  Ancient 
story  was  that  the  sculptor  Niccolo  Pisano  (ca.  1206-80)-'^»f  Ideals. 
was  induced  by  an  inspection  of  ancient  sarcophagi  to  exchange  the 
prevailing  style  for  the  ancient,  and  indeed  in  one  case  we  can  trace 
back  a  work  of  his  to  its  antique  prototype.  We  refer  to  a  relief  on 
the  pulpit  in  the  Baptistery  at  Pisa,  several  figures  in  which  are 
borrowed  from  a  Bacchus  vase  still  preserved  in  the  Gampo  Santo 
of  that  city  (pp.  430-433).  Whether  Niccolo  Pisano  was  a  member 
of  a  local  school  or  was  trained  under  foreign  influences  we  are  as 
yet  unable  to  determine.  His  sculptures  on  the  pulpits  in  the 
Baptistery  of  Pisa  and  the  Cathedral  of  Siena  introduce  us  at  once 
into  a  new  world.  It  is  not  merely  their  obvious  resemblance  to  the 
works  of  antiquity  that  arrests  the  eye ;  a  still  higher  charm  is 
exercised  by  the  peculiarly  fresh  and  direct  life  that  animates  the 
separate  figures.  By  his  son,  Oiovanni  Pisano  (ca.  1250- ca. 13281  and 
his  followers  of  the  Pi$an  School,  ancient  characteristics  were  placed 
in  the  background,  and  importance  was  attached  solely  to  life  and 
expression  [e.g.  reliefs  on  the  fa(;ade  of  the  Cathedral  at  Orvieto). 
Artists  now  began  to  impart  to  their  compositions  the  impress  of  their 
own  peculiar  views,  and  the  public  taste  for  poetry,  which  had  already 
strongly  manifested  itself,  was  now  succeeded  by  a  love  of  art  also. 

From  this  period  (14th  century)  therefore  the  Italians  date  the 
origin  of  their  modern  art.   Contemporaneous  writers  who  ob-     jijg,j  „p 
served  the  change  of  views,  the  revolution  in  sense  of  form,     Modeum 
and  the  superiority  of  the  more  recent  works  in  life  and  ex-        ^^"'^ 


xl  ITALIAN  ART. 

pression,  warmly  extolled  their  anthors,  and  zealously  proclaimed 
how  greatly  they  surpassed  their  ancestors.  But  succeeding  genera- 
tions hegan  to  lose  sight  of  this  connection  between  ancient  and 
modern  art.  A  mere  anecdote  was  deemed  sufficient  to  connect 
Giotto  di  Bondone  (r267?-1337),  the  father  of  modern  Italian  art, 
with  Giovanni  Cimabub  (d.  after  1302),  the  most  celebrated  re- 
presentative of  the  earlier  style.  (Cimabue  is  said  to  have  watched 
Giotto,  when,  as  a  shepherd-boy,  relieving  the  monotony  of  his 
office  by  tracing  the  outlines  of  his  sheep  in  the  sand,  and  to  have 
received  him  as  a  pupil  in  consequence.)  But  it  was  forgotten 
that  a  revolution  in  artistic  ideas  and  forms  had  talcen  place  at 
Rome  and  Siena  still  earlier  than  at  Florence,  that  both  Cimabue 
and  his  pupil  Giotto  had  numerous  professional  brethren,  and 
that  the  composition  of  mosaics,  as  well  as  mural  and  panel- 
painting,  was  still  successfully  practised.  Subsequent  investigation 
has  rectified  these  errors,  pointed  out  the  Roman  and  Tuscan  mosaics 
as  works  of  the  transition-period,  and  restored  the  Sienese  master 
Diircio  (ca.  1300),  who  was  remarkable  for  his  sense  of  the  beauti- 
ful and  the  expressiveness  of  his  figures,  to  his  merited  rank. 
Giotto,  however,  is  fully  entitled  to  rank  in  the  highest  class.  The 
amateur,  who  before  entering  Italy  has  become  acquainted  with 
Giotto  from  insignificant  easel-pictures  only,  often  arbitrarily 
attributed  to  this  master ,  and  even  in  Italy  itself  encounters 
little  else  than  obliquely  drawn  eyes ,  clumsy  features ,  and 
cumbrous  masses  of  drapery  as  characteristics  of  his  style,  will 
regard  Giotto's  reputation  as  ill-founded.  He  will  be  at  a  loss 
to  comprehend  why  Giotto  is  regarded  as  the  inaugurator  of  a 
new  era  of  art,  and  why  the  name  of  the  old  Florentine  master 
is  only  second  in  popularity  to  that  of  Raphael.  The  fact  is  that 
Giotto's  Giotto's  celebrity  is  not  due  to  any  single  perfect  work  of 
Influence,  art.  His  indefatigable  energy  in  different  spheres  of  art,  the 
enthusiasm  which  he  kindled  in  every  direction,  and  the  develop- 
ment for  which  he  paved  the  way,  must  be  taken  into  consideration, 
in  order  that  his  place  in  history  may  be  understood.  Even  when, 
in  consonance  with  the  poetical  sentiments  of  his  age,  he  embodies 
allegorical  conceptions,  as  poverty,  chastity,  obedience,  or  displays 
to  us  a  ship  as  an  emblem  of  the  Church  of  Christ,  he  shows  a 
masterly  acquaintance  with  the  art  of  converting  what  is  perhaps 
in  itself  an  ungrateful  idea  into  a  speaking,  lifelike  scene. 
Giotto  is  an  adept  in  narration,  in  imparting  a  faithful  reality  to 
his  compositions.  The  individual  figures  in  his  pictures  may  fail 
to  satisfy  the  expectations,  and  even  earlier  masters ,  such  as 
Duccio,  may  have  surpassed  him  in  execution,  but  intelligibility 
of  movement  and  dramatic  efl'ect  were  first  naturalised  in  art  by 
Giotto.  This  is  partly  attributable  to  the  luminous  colouring 
employed  by  him  instead  of  the  dark  and  heavy  tones  of  his 
predecessors,    enabling    him  to  impart  the  proper   expression    to 


ITALIAN  ART.  xU 

his  artistic  and  novel  conceptioua.  On  these  grounds  there- 
fore Giotto,  so  versatile  and  so  active  in  the  most  extended  spheres, 
was  accounted  the  purest  type  of  his  century,  and  succeeding 
geTierations  founded  a  regular  school  of  art  in  his  name.  As 
in  the  case  of  all  the  earlier  Italian  painters,  so  Iti  that  of  Giotto 
and  his  successors,  an  opinion  of  their  true  merits  can  be  formed 
from  their  mural  paintings  alone.  The  intimate  connection  of  the 
picture  with  the  architecture,  of  which  it  constituted  the  living 
ornament,  compelled  artists  to  study  the  rules  of  symmetry  and 
harmonious  composition,  developed  their  sense  of  style,  and,  as 
extensive  spaces  were  placed  at  their  disposal,  admitted  of  broad 
and  unshackled  delineation.  Almost  every  church  in  Florence 
boasted  of  specimens  of  art  in  the  style  of  Giotto,  and  almost  ev- 
ery town  in  Central  Italy  in  the  I4th  century  practised  some 
branch  of  art  akin  to  Giotto's.  The  most  valuable  works  of  this  style 
are  preserved  in  the  churches  of  Santa  Croce  (especially  the  choir 
chapels )  and  Santa  Maria  Novella  at  Florence.  Beyond  the  precincts 
of  the  Tuscan  capital  the  tinest  works  of  Giotto  are  to  be  found  at 
Assist  and  in  the  Madonna  deW  Arena  at  Padua,  where  about  1306 
he  executed  a  representation  of  scenes  from  the  lives  of  the  Virgin 
and  the  Saviour.  The  Campo  Santo  of  Pisa  (p.  430 )  affords  specimens 
of  the  handiwork  of  his  pupils  and  contemporaries.  In  the  works 
on  the  walls  of  this  unique  national  museum  the  spectator  cannot 
fail  to  be  struck  by  their  tinely-conceived,  poetical  character  (e.^. 
the  Triumph  of  Death),  their  sublimity  (Last  .Judgment,  Trials  of 
Job),  or  tlieir  richness  in  dramatic  effect  (History  of  St.  Rainerus, 
and  of  the  Martyrs  Ephesus  and  Potitus). 

In  the  loth  century,  as  well  as  in  the  14th,  Florence  continued 
to  take  the  lead  amongst  the  capitals  of  Italy  in  matters  of  art. 
Vasari  attributes  this  merit  to  its  pure  and  delicious  atmo-  Florence 
sphere,  which  he  regards  as  highly  conducive  to  intelligence  a  Cradle 
and  retinemenc.  The  fact,  however,  is,  that  Florence  did  not  *^*'  •*^''^- 
itself  prodi)(-e  a  greater  number  of  eminent  artists  than  other  places. 
During  a  long  period  Siena  successfully  vied  with  her  in  artistic 
fertility,  and  Upper  Italy  in  the  14th  century  gave  birth  to  the  two 
painters  Jacopo  d'Avanzo  and  Altichibho  (paintings  in  the  Chapel 
of  San  Giorgio  in  Padua,  p.  275),  who  far  surpass  Giotto's  ordinary 
style.  On  the  other  hand,  no  Italian  city  afforded  in  its  political  in- 
stitutions and  public  life  so  many  favourable  stimulants  to  artistic 
imagination,  or  promoted  intellectual  activity  in  so  marked  a  degree, 
or  combined  ease  and  dignity  so  harmoniously  as  Florence.  What 
therefore  was  but  obscurely  expeiienced  in  the  rest  of  Italy,  and 
manifested  at  irregular  intervals  only,  was  generally  first  realised 
here  with  tangible  distinctness.  Florence  became  the  birthplace  of 
the  revolution  iTi  art  effected  by  Giotto,  and  Florence  was  the  home 
of  the  art  of  the  Renaissance,  which  began  to  prevail  soon  after  the 
beginning  of  the  1.5th  century  and  superseded  the  style  of  Giotto. 


xlii  ITALIAN  ART, 

Tlie  word  Renaissance  is  commonly  understood  to  designate  a 
Benais-  re^'ival  of  the  antique ;  but  while  ancient  art  now  began  to 
SANCE  influence  artistic  taste  more  powerfully,  and  its  study  to  be 
CuLTCKE.  luQj-g  zealously  prosecuted ,  the  essential  character  of  the 
Renaissance  consists  by  no  means  exclusively,  or  even  principally, 
in  the  imitation  of  the  antique ;  nor  must  the  term  be  confined 
merely  to  art ,  as  it  truly  embraces  the  whole  progress  of  civili- 
sation in  Italy  during  the  15th  and  I6th  centuries.  How  the 
Renaissance  manifested  itself  in  political  life,  and  the  different 
phases  it  assumes  in  the  scientific  and  the  social  world ,  cannot 
here  be  discussed.  It  may,  however,  be  observed  that  the  Re- 
naissance in  social  life  was  chiefly  promoted  by  the  'humanists', 
who  preferred  general  culture  to  great  professional  attainments, 
who  enthusiastically  regarded  classical  antiquity  as  the  golden 
age  of  great  men ,  and  who  exercised  the  most  extensive  in- 
fluence on  the  bias  of  artistic  views.  In  the  period  of  the  Re- 
naissance the  position  of  the  artist  with  regard  to  his  work  ,  and 
the  nature  and  aspect  of  the  latter  are  changed.  The  education  and 
taste  of  the  individual  leave  a  more  marked  impress  on  the  work  of 
the  author  than  was  ever  before  the  case ;  his  creations  are  pre-emin- 
ently the  reflection  of  his  intellect ;  his  alone  is  the  responsibility, 
his  the  reward  of  success  or  the  mortification  of  failure.  Artists 
now  seek  to  attain  celebrity,  they  desire  their  works  to  be  examined 
and  judged  as  testimonials  of  their  personal  endowments.  Mere 
technical  skill  by  no  means  satisfies  them,  although  they  are  far 
from  despising  the  drudgery  of  a  handicraft  (many  of  the  most  emin- 
ent quattrocentists  having  received  the  rudiments  of  their  education 
in  the  workshop  of  a  goldsmith);  the  exclusive  pursuit  of  a  single 
sphere  of  art  is  regarded  by  them  as  an  indication  of  intellectual 
poverty,  although  they  aim  at  mastering  the  technique  of  every 
branch.  They  work  simultaneously  as  painters  and  sculptors ,  and 
when  they  devote  themselves  to  architecture,  it  is  deemed  nothing 
unwonted  or  anomalous.  A  comprehensive  and  versatile  education, 
united  with  refined  personal  sentiments,  forms  their  loftiest  aim.  This 
they  attain  in  but  few  instances,  but  that  they  eagerly  aspired  to  it 
is  proved  by  the  biography  of  the  illustrious  Leon  Battista  Albeeti 
(1404-72),  who  is  entitled  to  the  same  rank  in  the  15th  century  as 
Leonardo  da  Vinci  in  the  16th.  Rationally  educated,  physically  and 
morally  healthy ,  keenly  alive  to  the  calm  enjoyments  of  life,  and 
possessing  clearly  defined  ideas  and  decided  tastes,  the  Renaissance 
artists  necessarily  regarded  nature  and  her  artistic  embodiment 
with  different  views  from  their  predecessors.  A  fresh  and  joyous  love 
of  nature  seems  to  pervade  the  whole  of  this  period.  She  not  only 
afforded  an  unbounded  field  to  the  scientific,  but  artists  also  strove 
to  approach  her  at  first  by  a  careful  study  of  her  various  phenom- 
ena. Anatomy,  geometry,  perspective,  and  the  study  of  drapery 
and  colour  are  zealously  pursued  and  practically  applied.    External 


ITALIAN  ART.  xliil 

truth,  fidelity  to  nature,  and  a  correct  rendering  of  real  life  in 
its  minutest  details  are  among  the  necessary  qualities  in  a 
perfect  work.  The  realism  of  the  representation  is,  however,  o,, '^i^'g '^^ . 
only  the  basis  for  the  expression  of  lifelike  character  and  naissance 
present  enjoyment.  The  earlier  artists  of  the  Renaissance  Artists  to 
rarely  exhibit  partiality  for  pathetic  scenes,  or  events  which  ^a'''°"'^- 
awaken  painful  emotions  and  turbulent  passions,  and  when  such 
incidents  are  represented,  they  are  apt  to  be  somewhat  exagger- 
ated. The  preference  of  these  masters  obviously  inclines  to  cheerful 
and  joyous  subjects.  In  the  works  of  the  15th  century  strict  faith- 
fulness, in  an  objective  sense,  must  not  be  looked  for.  Whether  the 
topic  be  derived  from  the  Old  or  the  New  Testament,  from  history  or 
fable,  it  is  always  transplanted  to  the  immediate  present,  and  adorn- 
ed with  the  colours  of  actual  life.  Thus  Florentines  of  the  genuine 
national  type  are  represented  as  surrounding  the  patriarchs,  visiting 
Elizabeth  after  the  birth  of  her  son,  or  witnessing  the  miracles  of 
Christ.  This  transference  of  remote  events  to  the  present  bears  a 
striking  resemblance  to  the  naive  and  not  unpleasing  tone  of  the 
chronicler.  The  development  of  Italian  art,  however,  by  no  means 
terminates  with  mere  fidelity  to  nature,  a  quality  likewise  displayed 
by  the  contemporaneous  art  of  the  North.  A  superficial  glance  at 
the  works  of  the  Italian  Renaissance  enables  one  to  recognise  the 
higher  goal  of  imagination.  The  carefully  selected  groups  of  digni- 
fied men ,  beautiful  women ,  and  pleasing  children  ,  occasionally 
without  internal  necessity  placed  in  the  foreground ,  prove  that  at- 
tractiveness was  pre-eminently  aimed  at.  This  is  also  evidenced  by 
the  early-awakened  enthusiasm  for  the  nude,  by  the  skill  in  dispos- 
ition of  drapery,  and  the  care  devoted  to  boldness  of  outline  and 
accuracy  of  form.  This  aim  is  still  more  obvious  from  the  keen 
sense  of  symmetry  observable  in  all  the  better  artists.  The  indi- 
vidual figures  are  not  coldly  and  accurately  drawn  in  conformity 
with  systematic  rules.  They  are  executed  with  refined  taste  and 
feeling ;  harshness  of  expression  and  unpleasing  characteristics  are 
sedulously  avoided,  while  in  the  art  of  the  North  (e.g.  in  wood-cuts 
and  engravings)  physiognomic  fidelity  is  usually  accompanied  by  ex- 
treme rigidity.  A  taste  for  symmetry  does  not  prevail  in  the  forma- 
tion of  the  individual  figure  only;  obedience  to  rhythmical  precepts 
is  perceptible  in  the  disposition  of  the  groups  also,  and  in  the  com- 
position of  the  entire  work.  The  intimate  connection  between  Italian 
painting  (^fresco)  and  architecture  naturally  leads  to  the  transference 
of  architectural  rules  to  the  province  of  pictorial  art,  whereby  not 
only  the  invasion  of  a  mere  luxuriant  naturalism  was  obviated,  but 
the  fullest  scope  was  afforded  to  the  artist  for  the  execution  of  his 
task.  For,  to  discover  the  most  e£fe<-tive  proportions,  to  inspire  life 
into  a  scene  by  the  very  rhythm  of  the  lineaments,  are  not  accom- 
plishments to  be  acquired  by  extraneous  aid;  precise  measurement 
and  calculation  are  here  of  no  avail ;  a  discriminating  eye,  refined 


xliv  ITALIAN  ART. 

taste,  and  a  creative  imagination,  wMcli  instinctively  divines  tlie 
appropriate  forms  for  its  design,  can  alone  excel  in  this  sphere  of  art. 
This  enthusiasm  for  external  heauty  and  just  and  harmonious  pro- 
portions is  the  essential  characteristic  of  the  art  of  the  Renaissance. 
Its  veneration  for  the  antique  is  thus  also  accounted  for.  At  first 
an  ambitious  thirst  for  fame  caused  the  Italians  of  the  15th  and  16th 
Study  centuries  to  look  back  to  classical  antiquity  as  the  era  of  illus- 
op  THK    trious  men,  and  ardently  to  desire  its  return.   Subsequently, 

Antiqdb.  however,  they  regarded  it  simply  as  an  excellent  and  appro- 
priate resource,  when  the  study  of  actual  life  did  not  suffice,  and  an 
admirable  assistance  in  perfecting  their  sense  of  form  and  symmetry. 
They  by  no  means  viewed  the  art  of  the  ancients  as  a  perfect  whole, 
or  as  the  product  of  a  definite  historical  epoch ,  which  developed 
itself  under  peculiar  conditions  ;  but  their  attention  was  arrested  by 
the  individual  works  of  antiquity  and  their  special  beauties.  Thus 
ancient  ideas  were  re-admitted  into  the  sphere  of  Renaissance  art. 
A  return  to  the  religious  spirit  of  the  Romans  and  Greeks  is  not  of 
course  to  be  inferred  from  the  ven  ration  for  the  ancient  gods  shown 
during  the  humanistic  period  ;  belief  in  the  Olympian  gods  was  ex- 
tinct; but  just  because  no  devitional  feeling  was  intermingled, 
because  the  forms  could  only  receive  life  from  creative  imagination, 
did  they  exercise  so  powerful  aTi  influence  on  the  Italian  masters. 
The  importance  of  mythological  characters  being  wholly  due  to  the 
perfect  beauty  of  their  forms  ,  they  could  not  fail  on  this  account 
pre-eminently  to  recommend  themselves  to  Renaissance  artists. 
These  remarks  will,  it  is  hoped,  convey  to  the  reader  a  general 
CHAEACTEii-idea  of  the  character  of  the  Renaissance.     Those  who  ex- 

isTics  OP  amine  the  architectural  works  of  the  15th  or  16th  century 
s^^'k  should  refrain  from  marring  their  enjoyment  by  the  not  al- 
Archi-    together  justifiable  reflection,  that  in  the  Renaissance  style 

TECTDKE.  jio  new  system  was  invented,  as  the  architects  merely  em- 
ployed the  ancient  elements,  and  adhered  principally  to  tradition 
in  their  constructive  principles  and  selection  of  component  parts. 
Notwithstanding  the  apparent  want  of  organisation,  however,  great 
beauty  of  form,  the  outcome  of  the  most  exuberant  imagination, 
will  be  observed  in  all  these  structures. 

Throughout  the  diversified  stages  of  development  of  the  suc- 
ceeding styles  of  Renaissance  architecture,  felicity  of  proportion  is 
invariably  the  aim  of  all  the  great  masters.  To  appreciate  their 
success  in  this  aim  should  also  be  regarded  as  the  principal  task  of 
the  spectator,  who  with  this  object  in  view  will  do  well  to  compare 
a  Gothic  with  a  Renaissance  structure.  This  comparison  will  prove 
to  him  that  harmony  of  proportion  is  not  the  only  effective  element 
in  architecture ;  for,  especially  in  the  cathedrals  of  Germany,  the 
exclusively  vertical  tendency,  the  attention  to  form  without  regard 
to  measure ,  the  violation  of  precepts  of  rhythm ,  and  a  disregard 
of  proportion  and  the  proper  ratio  of  the  open  to  the  closed  cannot 


ITALIAN  ART.  iIt 

fail  to  strike  the  eye.  Even  the  unskilled  amatenr  will  thus  be 
convinced  of  the  abrupt  contrast  between  the  mediaeval  and  the 
Renaissance  styles.  Thus  prepared,  he  may,  for  example,  proceed 
to  inspect  the  Pitti  Palace  at  Florence ,  which ,  undecorated  and 
unorganised  as  it  is,  would  scarcely  he  distinguishable  from  a  rude 
pile  of  stones,  if  a  judgment  were  formed  from  the  mere  description. 
The  artistic  cliarm  consists  in  the  simplicity  of  the  proportions, 
the  justness  of  proportion  in  the  elevation  of  the  stories ,  and  the 
tasteful  adjustment  of  the  wiiidows  in  the  vast  surface  of  the  fa- 
cade. That  the  architects  thoroughly  understood  the  aesthetic  effect 
of  symmetrical  proportions  is  proved  by  the  mode  of  construc- 
tion adopted  in  the  somewhat  more  recent  Florentiiie  palaces ,  in 
which  the  roughly  hewn  blocks  (rustica)  in  the  successive  stories 
recede  in  gradations,  and  by  their  careful  experiments  as  to  whether 
the  cornice  surmounting  the  structure  should  bear  reference  to  the 
highest  story ,  or  to  the  entire  facade.  The  same  bias  manifests 
itself  in  Bramante's  imagination;  and  when,  after  the  example  of 
Palladio  in  church-facades,  a  single  series  of  columns  was  sub- 
stituted for  those  resting  above  one  another,  symmetry  of  proportion 
was  also  the  object  in  view. 

From  the  works  of  Brunelleschi  (p.  xlvi),  the  greatest  master  of 
the  Early  Renaissance,  down  to  those  of  Andrea  Palladio  of  Vi- 
cenza  (p.  xl  viii ),  the  last  great  architect  of  the  Renaissance,  the  works 
of  all  the  architects  of  that  period  will  be  found  to  possess  many 
features  in  common.  The  style  of  the  15th  century  may,  however, 
easily  be  distinguished  from  that  of  the  16th.  The  Flor-  Earlt  Ek- 
entine  Pitti,  Riccardi,  and  Strozzi  palaces  are  still  based  on  naissance 
the  type  of  the  mediaeval  castle  ,  but  other  contemporary  creations 
show  a  closer  affinity  to  the  forms  and  articulation  of  antique  art. 
A  taste  for  beauty  of  detail ,  coeval  with  the  realistic  tendency  of 
painting,  produces  in  the  architecture  of  the  15th  century  an  exten- 
sive application  of  graceful  and  attractive  ornaments,  which  entirely 
cover  the  surfaces,  and  throw  the  real  organisation  of  the  edifice  into 
the  background.  For  a  time  the  true  aim  of  Renaissance  art  appears 
to  have  been  departed  from  ;  anxious  care  is  devoted  to  detail  instead 
of  to  general  effect;  the  re-application  of  columns  did  not  at  first 
admit  of  spacious  structures;  the  dome  rose  but  timidly  above  the 
level  of  the  roof.  But  this  attention  to  minutiae,  this  disregard  of 
effect  on  the  part  of  these  architects,  was  only,  as  It  were,  a  re- 
straining of  their  power,  in  order  the  more  completely  to  master, 
the  more  grandly  to  develop  the  art. 

There  is  no  doubt  that  the  Renaissance  palaces  (among  which 
that  of  Urbino,  mentioned  in  vol.  ii  of  this  Handbook,  has  always 
been  regarded  as  pre-eminently  typical)  are  more  attractive  than  the 
churches.  These  last,  however ,  though  destitute  of  the  venerable 
associations  connected  with  the  mediieval  cathedrals ,  hear  ample 
testimony  to  the  ability  of  their  builders.   The  churches  of  Northern 


xlvi  ITALIAN  ART. 

Italy  in  particular  are  worthy  of  examination.  The  first  early  Re- 
naissance work  constructed  in  this  part  of  the  country  was  the  facade 
of  the  Certosa  ofPavia,  a  superb  example  of  decorative  architecture. 
Besides  the  marble  edifices  of  this  period  we  also  observe  structures 
in  brick,  in  which  the  vaulting  and  pillars  form  prominent  features. 
The  favourite  form  was  either  circular  or  that  of  the  Greek  cross 
(with  equal  arms),  the  edifice  being  usually  crowned  with  a  dome, 
and  displaying  in  its  interior  an  exuberant  taste  for  lavish  enrich- 
ment. Of  this  type  are  the  church  of  the  Madonna  della  Croce  near 
Crema  and  several  others  at  Piacenza  and  Parma  (Madonna  della 
Steccata).  It  was  in  this  region  thatBEAMANXB  prosecuted  the  studies 
of  which  Rome  afterwards  reaped  the  benefit.  Among  the  secular 
buildings  of  N.  Italy  we  may  mention  the  Ospedale  Maggiore  at 
Milan,  which  shows  the  transition  from  Gothic  to  Renaissance.  The 
best  survey  of  the  palatial  edifices  built  of  brick  will  be  obtained 
by  walking  through  the  streets  of  Bologna  (p.  386). 

The  visitor  to  Venice  will  have  an  opportunity  of  tracing  within 
a  very  limited  space  the  progress  of  Renaissance  architecture.  The 
church  of  San  Znccaria  is  an  example  of  early  Renaissance  still  in 
conflict  with  Gothic,  while  the  richly  coloured  church  of  Santa  Maria 
dei  Miracoli  and  the  Scuola  di  San  Marco  exhibit  the  style  in  its 
perfection.  Foremost  among  the  architects  of  Venice  must  be 
mentioned  the  Lombardi,  to  whom  most  of  the  Venetian  buildings 
of  the  15th  cent,  are  attributed  ;  but  we  shall  afterwards  advert  to 
the  farther  progress  of  Venetian  architecture  (p.  xlviii).  One  of  the 
most  famous  architects  of  N.  Italy  was  Fra  Gioconuo  of  Verona 
(1435-1515),  a  monk,  a  philologist  (the  discoverer  of  the  letters 
of  the  younger  Pliny),  a  botanist,  an  engineer,  and  a  thoroughly 
well  trained  architect,  who  at  a  very  advanced  age,  after  the  death 
of  Bramante,  was  summoned  to  Rome  to  superintend  the  building 
of  St.  Peter's. 

Examples  of  early  Renaissance  architecture  abound  in  the  towns 
of  Tuscany.  At  Florence,  the  scene  of  Filippo  Brunbllbschi's 
labours  (1377-1446),  the  attention  is  chiefly  arrested  by  the  church 
of  San  Lorenzo  (1425),  with  its  two  sacristies  (the  earlier,  after 
1421,  by  Brunelleschi,  the  later  by  Michael  Angelo ,  which  it  is 
interesting  to  compare),  while  the  small  Cappella  dei  Pazzi  near 
Santa  Croce  is  also  noticeable.  The  Palazzo  Rucellai  is  also  import- 
ant as  showing  the  combination  of  pilasters  with  'rustica' ,  the 
greatest  advance  achieved  by  the  early  Renaissance.  Siena,  with  its 
numerous  palaces,  Pienza,  the  model  of  a  Renaissance  town,  and 
Vrbino  also  afford  excellent  examples  of  the  art  of  the  Quattrocen- 
tists,  but  are  beyond  the  limits  of  the  present  volume.  While  all 
these  different  edifices  possess  many  features  in  common,  they  may 
be  classed  in  a  number  of  groups,  difi'ering  in  material  and  various 
other  characteristics,  and  entirely  relieving  them  from  any  reproach 
of  monotony. 


ITALIAN  ART.  xlvii    • 

The  early  Renaissance  is  succeeded  hy  Bramantk's  epoch  (1444- 
1514),  with  which  began  the  golden  age  of  symmetrical  construc- 
tion. With  a  wise  economy  the  mere  decorative  portions  zenith 
were  circumscribed ,  while  greater  significance  and  more  of  the  Ee- 
marked  expression  were  imparted  to  the  true  constituents  naissanck. 
of  the  structure ,  the  real  exponents  of  the  architectural  design. 
The  works  of  the  Bramantine  era  are  less  graceful  and  attractive 
than  those  of  their  predecessors,  but  superior  in  their  well  defined, 
lofty  simplicity  and  finished  character.  Had  the  Church  of  St.  Peter 
been  completed  in  the  form  originally  designed  by  Bramante  ,  we 
could  have  pronounced  a  more  decided  opinion  as  to  the  ideal  of  the 
church-architecture  of  the  Renaissance.  The  circumstance  that  the 
grandest  work  of  this  style  has  been  subjected  to  the  most  varied 
alterations  (and  vastness  of  dimensions  was  the  principal  aim  of  the 
architects)  teaches  us  to  refrain  from  the  indiscriminate  blame  which 
80  commonly  falls  to  the  lot  of  Renaissance  churches.  It  must  at 
least  be  admitted  that  the  favourite  form  of  a  Greek  cross  with 
rounded  extremities,  crowned  by  a  dome,  possesses  concentrated 
unity,  and  that  the  pillar-construction  relieved  by  niches  presents 
a  most  majestic  appearance;  nor  can  it  be  disputed  that  in  the 
churches  of  the  Renaissance  the  same  artistic  principles  are  applied 
as  in  the  universally  admired  palaces  and  secular  edifices.  If  the 
former  therefore  excite  less  interest ,  this  is  not  due  to  the  in- 
feriority of  the  architects,  but  to  causes  beyond  their  control.  The 
great  masters  of  this  culminating  period  of  the  Reiiaissance  were 
Raphakl,  Baldassake  Peeuzzi,  the  younger  Antonio  da  Sangallo 
of  Rome,  Michble  Sanmicheli  of  Verona  (p.  245),  Jacopo  Sanso- 
vixo  of  Venice,  and  lastly  Michael  Angelo.  The  succeeding  gener- 
ation of  the  16th  century  did  not  adhere  to  the  style  introduced  by 
Bramante,  though  not  reduced  by  him  to  a  finished  system.  They 
aim  more  sedulously  at  general  effect,  so  that  harmony  among  the 
individual  members  begins  to  be  neglected  ;  they  endeavour  to  arrest 
the  eye  by  boldness  of  construction  and  striking  contrasts;  or  they 
borrow  new  modes  of  expression  from  antiquity,  the  precepts  of 
which  had  hitherto  been  applied  in  an  unsystematic  manner  only. 

The  traveller  will  become  acquainted  with  the  works  of  Bramante 
and  his  contemporaries  at  Rome  (see  vol.  ii  of  this  Hand-p^jjocs  Re 
book),  but  there  are  other  places  also  which  possess  important  naissanck 
examples  of  the  'High  Renaissance'  style.    At  Florence,  for  Buildings. 
example,    are   the  Palazzo  Pandolfini  and  the  Palazzo  Vguccioni, 
the  former  of  which  is  said  to  have  been  designed  by  Raphael  ;  the 
Court  of  the  Pitti  Palace  by  Bart.  Ammanati  ;  the  Palazzo  Serristori 
and  the  Palazzo  Bartolini  by  Baccio  d'Agnolo.     We  must  also 
mention  Mantua  as  the  scene  of  the  architectural  labours  of  Giulio 
Romano  (p.  258),    Verona  with  its  numerous  buildings  by  San- 
micheli le.g.   the  Palazzo  Bevilacqua') ,   and  Padua,    where  Gio- 
vanni Maeia  Falconktto  (1458-1534)  and  Anueea  Riccio,  or 


xlviii  ITALIAN  ART. 

properly  Briosco  (Cappella  del  Scmto)  flonrislied.  At  Venice  the  Re- 
naissance culminated  in  the  first  half  of  the  16th  cent,  in  the  -works 
of  the  Florentine  Jacopo  Sansovino  (properly  Tatti,  1486-1570), 
and  at  Oenon  in  those  of  Galeazzo  Alessi  (1512-1572)  of  Perugia 
(e.g.  Santa  Maria  di  Carignano). 

In  the  middle  and  latter  half  of  the  16th  cent,   Venice,  Qenoa, 
Archi-     *"•!  Vicenza  were  zealous  patrons  of  art.     To   this  period 

TECTURE  A I  heloHgs  Andeea  Palladio  of  Vicenza  (1518-80;  p.  265), 
Venice,  ^^q  jj^g^  qj  ^Ij^  great  Renaissance  architects,  whose  Venetian 
churches  (San  Giorgio  Magyiore  and  iJedcntorej and  Vicentine  palaces 
are  equally  celebrated.  The  fundamental  type  of  domestic  archi- 
tecture at  Venice  recurs  with  little  variation.  The  nature  of  the 
ground  afforded  little  s(;ope  for  the  caprice  of  the  architect, 
while  the  conservative  spirit  of  the  inhabitants  inclined  them  to 
adhere  to  the  style  established  by  custom.  Nice  distinctions  of  style 
are  therefore  the  more  observable,  and  that  which  emanated  from 
a  pure  sense  of  form  the  more  apprei'iable.  Those  who  have  been 
convinced  by  careful  liomparison  of  the  great  superiority  of  the 
Biblioteca  of  Sansovino  (in  the  Piazzetta;  p.  298)  over  the  new 
Procuratie  of  Scamozzi  (p.  293),  although  the  two  edifices  exactly 
correspond  in  many  respects,  have  made  great  progress  towards  an 
accurate  insight  into  the  architecture  of  the  Renaissance. 

Much,  however,  would  be  lost  by  the  traveller  who  devoted  his 
Minor       attention  exclusively  to  the  master-works  which  have  been 

WoKiis  OF  extolled  from  time  immemorial,  or  solely  to  the  great  mon- 
^^"^^  timental  structures.  As  even  the  insignificant  vases  (ma- 
jolicas,  manufactured  at  Pesaro,  Urbino ,  Gubbio,  Faenza,  and 
Castel- Durante)  testify  to  the  taste  of  the  Italians,  their  partiality 
for  classical  models,  and  their  enthusiasm  for  purity  of  form,  so 
also  in  inferior  works,  some  of  which  fall  within  the  province  of  a 
mere  handicraft,  the  peculiar  beauties  of  the  Renaissance  style  are 
often  detected  ,  and  charming  specimens  of  architecture  are  some- 
times discovered  in  remote  corners  of  Italian  towns.  Nor  must  the 
vast  domain  of  decorative  sculpture  be  disregarded,  as  such  works, 
whether  in  metal,  stone,  or  stucco.  Inlaid  or  carved  wood  (intarsia), 
often  verge  on  the  sphere  of  architecture  in  their  designs,  drawing, 
and  style  of  enrichment. 

On  the  whole  it  may  be  asserted  that  the  architecture  of  the  Re- 
naissance ,  which  in  obedience  to  the  requirements  of  modern  life 

ScuLPTDRE  manifests  its  greatest  excellence  in  secular  structures,  cannot 

OP  THE  Re-  fail  to   gratify  the  taste  of  the  most  superficial  observer. 

NAissANCE.  ^ith  the  sculpture  of  the  same  period,  however,  the  case  is 
different.  The  Italian  architecture  of  the  15th  and  16th  centuries 
still  possesses  a  practical  value  and  is  frequently  imitated  at  the 
present  day ;  and  painting  undoubtedly  attained  its  highest  con- 
summation at  the  same  period;  but  the  sculpture  of  the  Renais- 
sance does  not  appear  to  us  worthy  of  revival,  and  indeed  cannot 


ITALIAN  ART.  xlix 

compete  witli  that  of  antiquity.  Yet  the  plastic  art,  far  from 
enjoying  a  lower  degree  of  favour,  was  rather  viewed  by  the  ar- 
tists of  that  age  as  the  proper  ceutre  of  their  sphere  of  activity. 
Sculpture  was  the  first  art  in  Italy  which  was  launched  into  the 
stream  of  the  Renaissance,  in  its  development  it  was  ever  a  step 
in  advance  of  the  other  arts,  and  in  the  popular  opinion  possessed 
the  advantage  of  most  clearly  embodying  the  current  ideas  of  the 
age,  and  of  affording  the  most  brilliant  evidence  of  the  re-awakened 
love  of  art.  Owing  probably  to  the  closeness  of  the  connection  be- 
tween the  plastic  art  of  the  Renaissance  and  the  peculiar  national 
culture,  the  former  lost  much  of  its  value  after  the  decline  of  the 
latter,  and  was  less  appreciated  than  pictorial  and  architectural 
works,  in  which  adventitious  historical  origin  is  obviously  less  im- 
portant than  general  effect.  In  tracing  the  progress  of  the  sculpture 
of  the  Renaissance,  the  enquirer  at  once  encounters  serious  de- 
viations from  strict  precepts,  and  numerous  infringements  of  esthetic 
rules.  The  execution  of  reliefs  constitutes  by  far  the  widest  sphere 
of  action  of  the  Italian  sculptors  of  the  15th  century.  These, 
however,  contrary  to  immemorial  usage,  are  executed  in  a  pictorial 
style.  Lorenzo  Ghibbeti  (1381-1455),  for  example ,  in  his  cel- 
ebrated (eastern)  door  of  the  Baptistery  of  Florence,  is  not  satis- 
tied  with  grouping  the  figures  as  in  a  painting ,  and  placing  them 
in  a  rich  landscape  copied  from  nature.  He  treats  the  background 
in  accordance  with  the  rules  of  perspective ;  the  figures  at  a  dis- 
tance are  smaller  and  less  raised  than  those  in  the  foreground. 
He  oversteps  the  limits  of  the  plastic  art,  and  above  all  violates 
the  laws  of  the  relief-style,  according  to  which  the  figures  are 
always  represented  in  an  imaginary  space ,  and  the  usual  system 
of  a  mere  design  in  profile  seldom  departed  from.  In  like  manner 
the  painted  reliefs  in  terracotta  by  Luca  della  Robbia  (1399-148'2) 
are  somewhat  inconsistent  with  purity  of  plastic  form.  But  if 
it  be  borne  in  mind  that  the  sculptors  of  the  Renaissance  did  not 
derive  their  ideas  from  a  previously  defined  system,  or  adhere  to 
abstract  rules  ,  the  fresh  and  lifelike  vigour  of  their  works  (espe- 
cially those  of  the  15th  century)  will  not  be  disputed,  and  pre- 
judice will  be  dispelled  by  the  great  attractions  of  the  reliefs 
themselves.  The  sculpture  of  the  Renaissance  adheres  as  strictly 
as  the  other  arts  to  the  fundamental  principle  of  representation; 
scrupulous  care  is  bestowed  on  the  faithful  and  attractive  ren- 
dering of  the  individual  objects;  the  taste  is  gratified  by  express- 
ive heads,  graceful  female  figures,  and  joyous  children  ;  the  sculp- 
tors have  a  keen  appreciation  of  the  beauty  of  the  nude,  and 
the  importance  of  a  calm  and  dignified  flow  of  drapery.  In  their 
anxiety  for  fidelity  of  representation,  however,  they  do  not  shrink 
from  harshness  of  expression  or  rigidity  of  form.  Their  predi- 
lection for  bron/.e-castiTig,  an  art  which  was  less  in  vogue  in  the 
16th  cent.,  accords  with  their  love  of  individualising  their  charact- 
Baedkker.    Italy  I.    13th  Edit.  d 


1  ITALIAN  ART. 

ecs.  In  this  material,  decision  aud  pregiiaucy  of  form  are  expressed 
without  restraint,  and  almost,  as  it  were,  spontaneously.  Works  in 
marble  also  occur,  but  these  generally  trench  on  the  province  of 
decoration,  and  seldom  display  the  bold  and  unfettered  aspirations 
which  are  apparent  in  the  works  in  bronze. 

The  churches  have  always  afforded  the  most  important  field  for 
the  labours  of  the  Italian  sculptors,  some  of  them,  such  as  Santa 
Croce  at  Florence,  the  Frari  and  Santi  Oiovanni  e  Paolo  at  Venice, 
and  SanV  Antonio  at  Padua,  forming  very  museums  of  Renaissance 
sculpture.  At  the  same  time  many  of  the  wealthier  families  (the 
Medici  and  others)  embellished  their  mansions  with  statuary,  and 
the  art  of  the  sculptor  was  frequently  invoked  with  a  view  to  erect 
a  fitting  tribute  to  the  memory  of  some  public  benefactor  (such  as 
the  equestrian  statues  at  Venice  and  Padua^. 

At  Florence  ,  the  cradle  of  Renaissance  sculpture  ,  we  become 
ScDiPTous  acquainted  with  Ghiberti  and  Delia  Robbia,  who  have  been 
OF  TUE  Re-  already  mentioned,  and  with  the  famous  Donatello  (pro- 
NAissANCE.  perly  Donato  ui  Niccolo  ui  Betto  Baedi,  1386-1466),  who 
introduced  a  naturalistic  style,  which,  though  often  harsh,  is  full 
of  life  and  character.  The  Judith  Group  in  the  Loggia  de'  Lanzi 
is  an  exaggerated  and  unpleasing  example  of  this  style,  the  master 
having  aimed  at  the  utmost  possible  expressiveness,  while  the  lines 
and  contOTirs  are  entirely  destitute  of  ease.  Among  DonateUo's 
most  successful  works  on  the  other  hand  are  his  statue  of  St.  Oeorge 
and  his  Victorious  David  in  bronze  in  the  Museo  Nazionale  (p.  500), 
a  collection  invaluable  to  the  student  of  the  early  Renaissance.  The 
reliefs  on  the  two  pulpits  in  San  Lorenzo  and  the  sculptures  in  the 
sacristy  of  that  church  (p.  526)  should  also  be  inspected.  Dona- 
teUo's finest  works  out  of  Florence  are  his  numerous  sculptures  in 
Sant'  Antonio  at  Padua. 

The  next  sculptor  of  note  was  Andrea  Verrocchio  (1436-88). 
Most  of  the  other  masters  of  this  period  (Antonio  Rossellino,  Mino 
DA  FiESOLE,  Desiderio  DA  Settignano)  Were  chiefly  occu2ned  In 
the  execution  of  tombstones ,  aud  do  not  occupy  a  position  of 
much  importance ;  but  the  life  and  sense  of  beauty  which  charac- 
terise the  early  Renaissance  are  admirably  exemplified  in  the  works 
of  the  comparatively  imknown  Matteo  Civitali  of  Lucca  (p.  443). 
Important  Florentine  masters  of  the  first  half  of  the  Kith  cent, 
were  Giot.  Franc.  Rustici  (1474-1554),  who  was  perhaps  inspired 
by  Leonardo  da  Vinci,  and  particularly  Andrea  Sansovino  (1460- 
1529),  the  author  of  the  exquisite  group  of  Christ  and  the  Baptist  in 
the  Baptistery  at  Florence,  of  superb  monuments  at  Rome  (in  the 
choir  of  Santa  Maria  del  Popolo),  and  of  part  of  the  sculptures  which 
adorn  the  Santa  Casa  near  Ancona.  Northern  Italy  also  contributed 
largely  to  the  development  of  the  plastic  art.  The  Certosa  at  Pavia, 
for  example,  afforded  occupation  during  several  decades  to  numerous 
artists,  among  whom  the  most  eminent  were  Giovanni  Antonio 


ITALIAN  ART.  U 

Amauko  (creator  of  the  Cappelia  CoUeoni  at  Bergamo),  and,  at  a 
later  period,  Ckistofoho  Solaki,  sarnamed  II  Gobbo  ;  Venice 
abounds  in  works  by  the  Lomb.^kdi,  including  Alessandeo  Lbo- 
PARDi  (d.  15'22),  the  most  famous  sculptor  of  his  period;  Iliccio  or 
Bb,iosco  (p.  xlvii)  wrouuht  at  Padua;  Agostino  Busti,  il  Bambaia 
(ca.  1480-1548),  and  the  above-mentioned  Ckistofoeo  Solari,  were 
actively  engaged  at  Milan ;  and  Modena  afforded  employment  to 
Mazzoni  and  Begakblli  [p.  372),  artists  in  terracotta. 

Among  the  various  works  executed  by  these  masters,  Monumental 
Tombs  largely  predominate.  While  these  monuments  are  often  of 
a  somewhat  bombastic  character ,  they  afford  an  excellent  illus- 
tration of  the  high  value  attached  to  individuality  and  personal 
culture  during  the  Renaissance  period.  We  may  perhaps  also  fre- 
quently take  exception  to  the  monotony  of  their  style,  which 
remained  almost  unaltered  for  a  whole  century,  but  we  cannot  fail 
to  derive  genuine  pleasure  from  the  inexhaustible  freshness  of 
imagination  and  richness  of  detail  displayed  within  so  narrow  limits. 

As  museums  cannot  convey  an  adequate  idea  of  the  sculpture 
of  the  loth  century,  so  the  picture  galleries  will  not  afford  an 
accurate  insight  into  the  painting  of  that  period.  Sculp-  painting 
tures  are  frequently  removed  from  their  original  position,  of  tue  Cim- 
many  of  those  belonging  to  the  Florentine  churches,  for  qijecento. 
example ,  having  been  of  late  transferred  to  museums ;  but  mural 
paintings  are  of  course  generally  inseparable  from  the  walls  which 
they  adorn.  Of  the  frescoes  of  the  15th  century  of  which  a  record  has 
been  preserved,  perhaps  one-half  have  been  destroyed  or  obliterated, 
but  those  still  extant  are  the  most  instructive  and  attractive  ex- 
amples of  the  art  of  this  period.  The  mural  paintings  in  the  church 
of  Santa  Maria  del  Carmine  (Cappelia  Brancacci)  at  Florence  (p.  537) 
are  usually  spoken  of  as  the  earliest  specimens  of  the  painting  of 
the  Renaissance.  On  material  grounds  the  classification  is  justifiable, 
as  this  cycle  of  pictures  may  be  regarded  as  a  programme  of  the 
earlier  art  of  the  Renaissance,  the  importance  of  which  it  served  to 
maintain,  even  during  the  age  of  Raphael.  Here  the  beauty  of  the 
nude  was  first  revealed,  and  here  a  calm  dignity  was  for  the  first 
time  imparted  to  the  individual  figures,  as  well  as  to  the  general 
arrangement ;  and  the  transformation  of  a  group  of  indifferent  specta- 
tors in  the  composition  into  a  sympathising  choir,  forming  as  it  were 
a  frame  to  the  principal  actors  in  the  scene,  was  first  successfully 
effected.  It  is,  therefore,  natural  that  these  frescoes  should  still  be 
regarded  as  models  for  imitation,  and  that,  when  the  attention  of 
connoisseurs  was  again  directed  during  the  18th  century  to  the 
beauties  of  the  pre-Raphaelite  period,  the  works  of  Masolino  (?) 
and  Masaccio  (1401-28)  should  have  been  eagerly  rescued  from 
oblivion. 

A.  visit  to  the  churches  and  convents  of  Florence  is  well  calculated 
to  convey  an  idea  of  the  subsequent  rapid  development  of  the  art  of 

d* 


lii  ITALIAN  ART. 

painting,  and  of  the  diversified  aud  widely  ramifling  tendences, 
which  originally  had  their  root  in  one  and  the  same  impulse  or 
principle.  The  ancient  convent  otSanf  ApoUonia  (p.  5251  contains 
the  most  important  works  of  Andeea  del  Castagno  (1390-1457), 
who  is  second  only  to  Masaccio  as  a  representative  of  the  older 
generation.  In  the  Dominican  monastery  of  San  Marco  reigns  the  pious 
and  peaceful  genius  of  Fea  Giovanni  Angelico  da  Fiesolk  (1387- 
1455),  who,  though  inferior  to  his  contemporaries  in  dramatic  power, 
vies  with  the  best  of  them  in  his  depth  of  sentiment  and  his  sense  of 
beauty,  as  expressed  more  particularly  by  his  heads,  and  who  in 
his  old  age  displayed  his  well-matured  art  in  the  frescoes  of  the 
chapel  of  St.  Nicholas  in  the  Vatican.  Most  important  and  extensive 
works  are  those  of  Domenico  Ghielandaio  (1449-94) :  viz. 
^J^r.fJ^^t'^  the  frescoes  in  Santa  TrinitSi,  and  those  in  the  choir  of  Santa 
Maria  Novella,  which  in  sprightliness  of  conception  and  in 
grace  of  representation  are  hardly  surpassed  by  any  other  work  of 
the  same  period.  (The  traveller  will  find  it  very  instructive  to 
compare  the  former  of  these  works  with  the  mural  paintings  of 
Giotto  in  Santa  Croce,  which  also  represent  the  legend  of  St.  Francis, 
and  to  draw  a  parallel  between  Ghirlaiidaio's  Last  Supper  in  the 
church  of  Ognissanti,  and  the  work  of  Leonardo  da  Yinci.) 

Although  the  Tuscan  painters    exhibit  their  art  to  its   fullest 

extent  in  their  mural  paintings,  their  easel-pictures  are  also  well 

worthy  of  most  careful  examination  ;  for  it  was  chiefly  through  these 

that  they  gradually  attained  to  perfection  in  imparting  beauty  and 

dignity  to  the  human  form.  Besides  the  two  great  Florentine  galleries 

(Ufflzi  and  Pitti),  the  collection  of  the  Academy  (p.  520)  is  also  well 

calculated  to  afford  a  survey  of  the  progress  of  Florentine  painting. 

Beyond  the  precincts  of  Florence,  Bbnozzo  Gozzoli's  charming 

scenes  from  the  Old  Testament  on  the  northern  wall  of  the  Campo 

Painting  in  Santo  of  Pisa  (p.  431),  truly  forming  biblical  genre-pictures, 

oTnEEPAKTs  aud  hls  scenes  from  the  life  of  St.  Augustine  in  San  Oimi- 

op  TuscANT.  gnano,  Filippo  Lippi's  frescoes  at  Prato  (p.  455),   Pieeo 

DELLA  Feancesca's  Finding  of  the  Cross  in  San  Francesco  at  Arezzo 

(p.  562),   and  lastly  LucA  Signoeelli's  representation  of  the  Last 

Day  in  the  Cathedral  at  Orvieto,   afford  a  most  admirable  review  of 

the  character  and  development  of  Renaissance  painting  in  Central 

Italy.     Those  who  cannot  conveniently  visit  the  provincial  towns 

will  find  several  of  the  principal  masters  of  the  15th  century  united 

in  the  mural  paintings  of  the  Sistine  Chapel  at  Rome,  where  Sandeo 

Botticelli  (1446-1510),  a  pupil  of  the  elder  Lippi,  Cosimo  Rosselli, 

Dom.  Ghirlandaio,  Signorelli,  and  Perugino  (p.  liii)have  executed  a 

number  of  rich  compositions  from  the  life  of  Moses  and  that  of  Christ. 

But  an  acquaintance  with  the  Tuscan  schools  alone  can  never 

suffice  to  enable  one  to  form  a  judgment  respecting  the  general 

Othek         progress  of  art  in  Italy.     Chords  which  are  here  but  slightly 

Schools,      touched  vibrate  powerfully  in  Upper  Italy.    The  works  of 


ITALIAN  ART.  liU 

Anpeba  Mantbgna.  (1431-1506 ;  at  Padua  and  Mantna)  derive 
much  interest  from  having  exercised  a  marked  influence  on  the 
German  masters  Holhein  andDiirer,  and  snrpass  all  the  other  works 
of  his  time  in  fidelity  to  nature  and  excellence  of  perspective 
(pp.  251,  277).  —  The  earlier  masters  of  the  Venetian  School  (Vita- 
BiNi,  Crivelh)  were  to  some  extent  adherents  of  the  Paduan  school, 
to  which  Mantegna  belonged,  hut  the  peculiar  Venetian  style,  mainly 
founded  on  local  characteristics,  and  admirably  successful  in  its  rich 
portraiture  of  noble  and  dignified  personages,  was  soon  afterwards 
elaborated  by  Gbntile  Bellini  (1429-1507)  and  his  brother  Gio- 
vanni (1430-1516),  sons  of  Giacomo.  —  The  Umlrian  School  also, 
which  originated  at  Gubbio,  and  is  admirably  represented  early  m 
the  15th  century  by  Ottaviano  Nklli,  blending  with  the  Tuscan 
school  in  Gkntilb  da  Fabeiano  (ca.  1370-1428)  and  culminating 
in  its  last  masters  Pibtbo  Vanxicci,  surnamed  Pertjgino  (1446- 
1524),  and  Bbrnakdino  Betti,  surnamed  Pinturicchio  (1454- 
1513),  merits  attention,  not  only  because  Raphael  was  one  of  its 
adherents  during  his  first  period ,  but  because  it  supplements  the 
broader  Florentine  style,  and  notwithstanding  its  peculiar  and  limit- 
ed bias  is  impressive  in  its  character  of  lyric  sentiment  and  relig- 
ious devotion  (e.  g.  Madonnas). 

The  fact  that  the  various  points  of  excellence  were  distributed 
among  different  local  schools  showed  the  necessity  of  a  loftier  union. 
Transcendent  talent  was  requisite  in  order  harmoniously  to  ukion  of 
combine  what  could  hitherto  be  viewed  separately  only,  different 
The  loth  century ,  notwithstanding  all  its  attractiveness.  Schools. 
shows  that  the  climax  of  art  was  still  unattained.  The  forms  em- 
ployed, graceful  and  pleasing  though  they  be,  are  not  yet  lofty  and 
pure  enough  to  be  regarded  as  embodiments  of  the  highest  and 
noblest  conceptions.  The  figures  still  present  a  local  colouring, 
having  been  selected  by  the  artists  as  physically  attractive ,  rather 
thaji  as  characteristic  and  expressive  of  their  ideas.  A  portrait  style 
still  predominates ,  the  actual  representation  does  not  appear 
always  wisely  balanced  with  the  internal  significance  of  the  event, 
and  the  dramatic  element  is  insufficiently  emphasised.  The  most 
abundant  scope  was  therefore  now  afforded  for  the  labours  of  the 
great  triumvirate,  Leonardo  da  Vinci,  Michael  Angelo  Buonar- 
roti, and  Raphael  Santi,  by  whom  an  entirely  new  era  was  in- 
augurated. 

Leonardo's  (1452-1519)  remarkable  character  can  only  be  thor- 
oughly understood  after  prolonged  study.  His  comprehensive 
genius  was  only  partly  devoted  to  art;  he  also  directed  Leonardo 
his  atteTition  to  scientific  and  practical  pursuits  of  an  entirely  da  Vinci. 
different  nature.  Refinement  and  versatility  may  be  described  as 
the  goal  of  his  aspirations;  a  division  of  labour,  a  partition 
of  individual  tasks  were  principles  unknown  to  him.  He  laid, 
as  it  were ,  his    entire  personality   into  the  scale  in  all  that  he 


liv  ITALIAN   ART. 

undertook.  He  regarded  careful  physical  training  as  scarcely  less 
important  than  comprehensive  culture  of  the  mind ;  the  vigour  of 
his  imagination  served  also  to  stimulate  the  exercise  of  his  intellect; 
and  his  minute  observation  of  nature  developed  his  artistic  taste  and 
organ  of  form.  One  is  frequently  tempted  to  regard  Leonardo's 
works  as  mere  studies,  in  which  he  tested  his  powers,  and  which 
occupied  his  attention  so  far  only  as  they  gratified  his  love  of 
investigation  and  experiment.  At  all  events  his  personal  impor- 
tance has  exercised  a  greater  influence  than  his  productions  as 
an  artist,  especially  as  his  prejudiced  age  strenuously  sought  to 
obliterate  all  trace  of  the  latter.  Few  of  Leonardo's  works 
have  been  preserved  in  Italy,  and  these  sadly  marred  by  neglect. 
A  reminiscence  of  his  earlier  period ,  when  he  wrought  under 
Andrea  Vkerocchio  at  Florence,  and  was  a  fellow-pupil  of  Lo- 
renzo Di  Credi,  is  the  Annunciation  in  the  Ufflzi  (^p.  490) ,  if  it 
be  a  genuine  work.  Several  oil-paintings,  portraits  (e.  g.  the  two 
fine  works  in  the  Ambrosiana  at  Milan,  p.  152),  Madonnas,  and 
imaginative  works  are  attributed  to  his  Milan  period,  although 
careful  research  inclines  us  to  attribute  them  to  his  pupils.  Un- 
adulterated pleasure  may,  however,  be  taken  in  his  drawings  in 
the  Ambrosiana,  the  Venice  Academy  (p.  309),  and  the  Ufflzi.  Two 
unfinished  paintings,  the  Adoration  of  the  Magi  in  the  Ufflzi  (p.  490 ), 
which  bears  ample  testimony  to  the  fertility  of  his  imagination,  and 
the  St.  Jerome  in  the  Vatican,  afford  an  insight  into  his  technique. 
The  best  idea  of  his  reforms  in  the  art  of  colouring  is  obtained  by 
an  attentive  examination  of  the  works  of  the  Milan  school  (Luini, 
Salaino  ;  p.  133),  as  these  are  far  better  preserved  than  the  only 
undoubted  work  of  Leonardo's  Milan  period  in  Italy:  the  Last 
Supper  in  Santa  Maria  delle  Grazie  (p.  154).  Although  now  a  total 
wreck,  it  is  still  well  calculated  to  convey  an  idea  of  the  new 
epoch  of  Leonardo,  especially  to  those  who  have  studied  Morghen's 
engraving  of  the  picture.  The  spectator  should  first  examine  the 
delicate  equilibrium  of  the  composition,  and  observe  how  the  in- 
dividual groups  are  complete  in  themselves,  and  yet  simultaneously 
point  to  a  common  centre  and  impart  a  monumental  character  to 
the  work ;  then  the  remarkable  physiognomical  fidelity  which 
pervades  every  detail,  the  psychological  distinctness  of  character, 
and  the  dramatic  life,  together  with  the  calmness  of  the  entire 
bearing  of  the  picture.  He  will  then  comprehend  that  with  Leonardo 
a  new  era  in  Italian  painting  was  inaugurated,  that  the  devel- 
opment of  art  had  attained  its  perfection. 

The  accuracy  of  this  assertion  will  perhaps  be  doubted  by  the 

amateur  when  he  turns  from  Leonardo  to  Michael  Angelo  (1475- 

MicHAEL     1564).    On  the  one  hand  he  hears  Michael  Angelo  extolled 

Akgelo.     as  the  most    celebrated   artist  of   the  Renaissance ,    while 

on  the  other  it  is  said  that  he  exercised  a  prejudicial  influence 

on  Italian  art,   and  was  the  precursor  of  the  decline  of  sculpture 


ITALIAN  ART.  1» 

and  painting.  Nor  is  an  inspection  of  this  illustrious  master's 
works  calculated  to  dispel  the  doubt.  Unnatural  and  arhitrary 
features  often  appear  in  juxtaposition  with  what  is  perfect,  pro- 
foundly significant,  and  faithfully  conceived.  As  in  the  case  of 
Leonardo,  we  shall  find  that  it  is  only  by  studying  the  master's  bio- 
graphy that  we  can  obtain  an  explanation  of  these  anomalies ,  and 
reach  a  true  appreciation  of  Michael  Angelo's  artistic  greatness. 
Educated  as  a  sculptor,  he  exhibits  partiality  to  the  nude ,  and 
treats  the  drapery  in  many  respects  differently  from  his  professional 
brethren.  But,  like  them,  his  aim  is  to  inspire  his  figures  with  life, 
and  he  seeks  to  attain  it  by  imparting  to  them  an  imposing  and  im- 
pressive character.  At  the  same  time  he  occupies  an  isolated  position, 
at  variance  with  many  of  the  tendencies  of  his  age.  Naturally  pre- 
disposed to  melancholy,  concealing  a  gentle  and  almost  effeminate 
temperament  beneath  a  mask  of  austerity,  Michael  Angelo  was  con- 
firmed in  his  peculiarities  by  the  political  and  ecclesiastical  circum- 
stances of  his  time,  and  wrapped  himself  up  within  the  depths  of 
his  own  absorbing  thoughts.  His  sculpture  most  clearly  manifests 
that  profound  sentiment  to  which,  however,  he  often  sacrificed  sym- 
metry of  form.  His  figures  are  therefore  anomalous ,  exhibiting  a 
grand  conception,  but  no  distinct  or  tangible  thoughts,  and  least  of 
all  the  traditional  ideas.  It  is  difficult  now  to  fathom  the  hidden 
sentiments  which  the  master  intended  to  embody  in  his  statues  and 
pictures ;  his  imitators  seem  to  have  seen  in  them  nothing  but  massive 
and  clumsy  forms,  and  soon  degenerated  into  meaningless  mannerism . 
The  deceptive  effect  produced  by  Michael  Angelo's  style  is  best  ex- 
emplified by  some  of  his  later  works.  His  Moses  in  San  Pietro  in 
Vincoli  is  of  impossible  proportions;  such  a  man  can  never  have 
existed ;  the  small  head,  the  huge  arms,  and  the  gigantic  torso  are 
utterly  disproportionate  ;  the  robe  which  falls  over  the  celebrated 
knee  could  not  be  folded  as  it  is  represented.  Nevertheless  the 
work  is  grandly  impressive ;  and  so  also  are  the  Monuments  of  the 
Medici  in  the  New  Sacristy  of  San  Lorenzo  at  Florence  (p.  628), 
in  spite  of  the  forced  attitude  and  arbitrary  moulding  of  some  of 
the  figures.  Michael  Angelo  only  sacrifices  accuracy  of  detail  in 
order  to  enhance  the  aggi-egate  effect.  Had  so  great  and  talented  a 
master  not  presided  over  the  whole,  the  danger  of  an  inflated  style 
would  have  been  incurred,  the  forms  selected  would  have  been 
exaggerated,  and  a  professional  mannerism  would  have  been  the 
result.  Michael  Angelo's  numerous  pupils,  in  their  anxiety  to 
follow  the  example  of  his  Last  Judgment  in  the  Sistine,  succeeded 
only  in  representing  complicated  groups  of  unnaturally  foreshort- 
ened nude  figures,  while  Baccio  Bandinelli,  thinking  even  to  surpass 
Michael  Angelo,  produced  in  his  group  of  Hercules  and  Cacus  (in 
the  Piazza  della  Signoria  at  Florence )  a  mere  caricature  of  his  model. 
Michael  Angelo  lived  and  worked  at  Florence  and  Rome  alter- 
nately. We  find  him  already  in  Rome  at  the  age  of  21  years  (1496), 


Ivi  ITALIAN  ART. 

as  Florence,  after  the  banishment  of  the  Medici,  offered  no  favour- 
able field  for  the  practice  of  art.  Here  he  chiselled  the  Pietii  and 
the  Bacchus.  In  the  beginning  of  the  16th  cent,  he  returned  to  his 
home,  where  he  produced  his  David  and  began  work  on  the  cycle 
of  frescoes  destined  for  the  great  hall  of  the  Palazzo  Vecchio 
(^Battle  Cartoon,  see  p.  473).  In  1505  the  Pope  recalled  him  to 
Rome,  but  the  work  entrusted  to  him  there,  the  Tomb  of  Julius  II., 
was  at  this  time  little  more  than  begun.  The  Ceiling  Paintings  in 
the  Sistine  Chapel  absorbed  his  whole  attention  from  1508  to  1512. 
After  the  death  of  Julius,  his  monument  was  resumed  on  a  more 
extensive  scale.  The  commands  of  the  new  pope,  Leo  X.,  however, 
who  wished  to  employ  the  artist  for  the  glorification  of  his  own 
family,  soon  brought  the  ambitiously  designed  memorial  once  more 
to  a  standstill.  From  1516  onwards  Michael  Angelo  dwelt  at  Carrara 
and  Florence,  occupied  at  first  with  the  construction  and  embellish- 
ment of  the  Facade  of  San  Lorenzo,  which  was  never  completed, 
and  then  with  the  Tombs  of  the  Medici.  This  work  also  advanced 
very  slowly  towards  maturity,  and  at  last  the  artist,  disgusted  with 
the  tyranny  of  the  Medici,  set  up  in  their  places  those  of  the  statues 
which  were  finished,  and  migrated  to  Rome  (about  1534).  His  first 
work  here  was  the  Last  Judgment  in  the  Sistine  Chapel,  his  next 
the  erection  of  the  scanty  fragments  of  the  tomb  of  Pope  Julius. 
His  last  years  were  mainly  devoted  to  architecture  (St.  Peter's). 

Amateurs  will  best  be  enabled  to  render  justice  to  Michael 
Angelo  by  first  devoting  their  attention  to  his  earlier  works, 
among  which  in  the  province  of  sculpture  the  group  of  the  PietSl 
in  St.  Peter's  occupies  the  highest  rank.  The  statues  of  Bacchus 
and  David  (at  Florence;  pp.  500,521)  likewise  do  not  transgress 
the  customary  precepts  of  the  art  of  the  Renaissance.  Paintings  of 
Michael  Angelo's  earlier  period  are  rare ;  the  finest,  whether  con- 
ceived in  the  midst  of  his  youthful  studies,  or  in  his  maturer  years, 
is  unquestionably  the  ceiling-painting  in  the  Sistine.  The  architec- 
tural arrangement  of  the  ceiling,  and  the  composition  of  the  several 
pictures  are  equally  masterly  ;  the  taste  and  discrimination  of  the 
painter  and  sculptor  are  admirably  combined.  In  God  the  Father, 
Michael  Angelo  produced  a  perfect  type  of  its  kind ;  he  under- 
stood how  to  inspire  with  dramatic  life  the  abstract  idea  of  the 
act  of  creation,  which  he  conceived  as  motion.  In  the  prophets  and 
sibyls,  notwithstanding  the  apparent  monotony  of  the  fundamental 
intention  (foreshadowing  of  the  Redemption) ,  a  great  variety  of 
psychological  incidents  are  displayed  and  embodied  in  distinct 
characters.  Lastly,  in  the  so-called  Ancestors  of  Christ,  the  forms 
represented  are  the  genuine  emanations  of  Michael  Angelo's  genius, 
pervaded  by  his  profound  and  sombre  sentiments,  and  yet  by  no 
means  destitute  of  gracefulness  and  beauty.  The  decorative  figures 
also  which  he  designed  to  give  life  to  his  architectural  frame-work 
are  v^onderfully  beautiful  and  spirited.    The  Last  Judgment,  which 


ITALIAN  ART.  Mi 

was  executed  nearly  thirty  years  later  (in  1534-41),  is  not  nearly 
so  striking  as  the  ceiling-paintings,  owing  in  a  great  measure  to  its 
damaged  condition.  —  Among  Michael  Angelo's  pupils  were  Sebas- 
tian DEL  PioMBO  (pp.  Ixi,  291),  Maecbllo  Vsnusti,  and  Danible 

DA  VOLTBEBA. 

Whether  the  palm  he  due  to  Michael  Angelo  or  to  Raphael  (1483- 
1520)  among  the  artists  of  Italy  is  a  question  which  formerly  gave 
rise  to  vehement  discussion  among  artists  and  amateurs.  „ 
The  admirer  of  Michael  Angelo  need,  however,  hy  no  means 
he  precluded  from  enjoying  the  works  of  Raphael.  We  now  know 
that  it  is  far  more  advantageous  to  form  an  acquaintance  with 
each  master  in  his  peculiar  province,  than  anxiously  to  weigh 
their  respective  merits  ;  and  the  more  minutely  we  examine  their 
works,  the  more  firmly  we  are  persuaded  that  neither  in  any  way 
obstructed  the  progress  of  the  other ,  and  that  a  so-called  higher 
combination  of  the  two  styles  was  impossible.  Michael  Angelo's 
unique  position  among  his  contemporaries  was  such,  that  no  one, 
Raphael  not  excepted,  was  entirely  exempt  from  his  influence; 
but  the  result  of  preceding  development  was  turned  to  the  best 
account ,  not  by  him ,  but  by  Raphael ,  whose  susceptible  and 
discriminating  character  enabled  him  at  once  to  combine  diiTerent 
tendencies  within  himself,  and  to  avoid  the  faults  of  his  pre- 
decessors. Raphael's  pictures  are  replete  with  indications  of  pro- 
found sentiment,  but  his  imagination  was  so  constituted  that  he  did 
not  distort  the  ideas  which  he  had  to  embody  in  order  to  accommo- 
date them  to  his  own  views,  but  rather  strove  to  Identify  himself 
with  them,  and  to  reproduce  them  with  the  utmost  fidelity.  In  the 
case  of  Raphael,  therefore,  a  knowledge  of  his  works  and  the  en- 
joyment of  them  are  almost  inseparable,  and  it  is  difficult  to  point 
out  any  single  sphere  with  which  he  was  especially  familiar.  He 
presents  to  us  with  equal  enthusiasm  pictures  of  the  Madonna,  and 
the  myth  of  Cupid  and  Psyche;  in  great  cyclic  compositions  he  is 
as  brilliant  as  in  the  limited  sphere  of  portrait-painting ;  at  one 
time  he  appears  to  attach  paramount  importance  to  strictness  of 
style,  architectural  arrangement,  symmetry  of  groups,  etc. ;  at  other 
times  one  is  tempted  to  believe  that  he  regarded  colour  as  his  most 
effective  auxiliary.  His  excellence  consists  in  his  rendering  equal 
justice  to  the  most  varied  subjects,  and  in  each  case  as  unhesitat- 
ingly pursuing  the  right  course,  both  in  his  apprehension  of  the 
idea  and  selection  of  form,   as  if  he  had  never  followed  any  other. 

Little  is  known  of  Raphael's  private  life ,  nor  is  it  known  by 
what  master  he  was  trained  after  the  death  of  Oiovanni,  his  father 
(1494).  In  1500  he  entered  the  studio  of  Perugino  (p.  liii),  and 
probably  soon  assisted  in  the  execution  of  some  of  the  works  of  his 
prolific  master.  Of  Raphael's  early  or  XJmhrian  period  there  are 
examples  in  the  V^atican  Gallery  (Coronation  of  Mary)  and  the  P>rera 
at  Milan  {Sposalizio  of  the  Madonna,  1504).    On  settling  at  Florence 


Mii  ITALIAN  ART, 

(1504)  Raphael  did  not  at  first  abandon  the  style  he  had  learned  at 
Perugia,  and  which  he  had  carried  to  greater  perfection  than  any 
of  the  other  Umbrian  masters.  Many  of  the  pictures  he  painted 
there  show  that  he  still  followed  the  precepts  of  his  first  master ; 
but  he  soon  yielded  to  the  influence  of  his  Florentine  training. 
After  the  storm  raised  by  Savonarola  had  passed  over,  glorious  days 
were  in  store  for  Florence.  Leonardo,  after  his  return  from  Milan, 
and  Michael  Angelo  were  engaged  here  on  their  cartoons  for  the 
decoration  of  the  great  hall  in  the  Palazzo  Vecchio  (p.  4731;  and  it 
was  their  example,  and  more  particularly  the  stimulating  influence 
of  Leonardo,  that  awakened  the  genius  and  called  forth  the  highest 
energies  of  all  their  younger  contemporaries. 

The   fame  of  the  Florentine  school  was  at  this  period  chiefly 
Raphael's    maintained  by  Fba  Baktolomeo  (1475-1517)  and  Anukea 
Florentine    del  Sarto  (1487-1531).      The  only  works  of  Bartolomeo 
CoNTEMPOE-  which  we  know  are  somewhat  spiritless  altar-pieces,  but  they 
*^"*'^"        exhibit  in  a  high  degree  the  dignity  of  character,  the  tran- 
quillity of  expression,  and  the  architectural  symmetry  of  grouping 
in  which  he  excelled.   His  finest  pictures  are  the  Christ  with  the  four 
Saints,  the  Descent  from  the  Cross  (or  Pietk),  the  St.  Mark  in  the  Pitti 
Gallery,  and  the  Madonna  in  the  cathedral  at  Lucca.    The  traveller 
would  not  do  justice  to  Andrea  del  Sarto,  a  master  of  rich  colouring, 
were  he  to  confine  his  attention  to  that  artist's  works  in  the  two 
great  Florentine  galleries.     Sarto's   Frescoes   in    the   Anniinziata 
(p.  510)  and  in  the  Scalzo  (History  of  John  the  Baptist,  p.  524)  are 
among  the  finest  creations  of  the  cinquecento.    Such,   too,  was  the 
stimulus  given  to  the  artists  of  this  period  by  their  great  contem- 
poraries at  Florence  that  even  those  of  subordinate  merit  have  occa- 
sionally produced  works  of  the  highest  excellence,   as,  for  instance, 
the  Salutation  of  Albeetinblli  and  the  Zenobius  pictures  of  Ri- 
DOLFO  Ghielandaio  in  the  Uffizi.     The  last  masters  of  the  local 
Florentine  school  were  Pontormo  and  Angelo  Bronzing. 

Raphael's  style  was  more  particularly  influenced  by  his  relations 
to  Fra  Bartolomeo,  and  the  traveller  will  find  it  most  interesting 
to  compare  their  works  and  to  determine  to  what  extent  each  derived 
suggestions  from  the  other.  The  best  authenticated  works  in 
Italy  of  Raphael's  Florentine  period  are  the  Madonna  del  Granduca 
(Pitti),  the  Madonna  del  CardeWino  (Uffizi),  the  Entombme7it(^Ga\. 
Borghese  in  Rome) ,  the  Predelle  in  the  Vatican ,  the  portraits  of 
Angelo  and  Maddalena  Doni  (Pitti) ,  and  the  Portrait  of  Himself 
(Uffizi;  p.  485).  The  Portrait  of  a  Lady  in  the  Pitti  gallery  is  of 
doubtful  origin,  and  the  Madonna  del  Baldacchino  in  the  same  gal- 
lery was  only  begun  by  Raphael. 

When  Raphael  went  to  Rome  in   1508  he  found  a  large  circle 

Raphael's    ^^  notable  artists  already  congregated  there.    Some  of  these 

Roman       were  deprived  of  their  employment  by  his  arrival,  including 

Pekiod.      Giovanni  Antonio  Bazzi,   surnamed  II  Sodoma  (ca.  1477- 


ITALIAN  ART.  lix 

1549),  whose  frescoes  in  the  Farnesina  (unfortunately  not  now 
accessible)  vie  with  Raphael's  works  in  tenderness  and  grace.  A 
still  more  numerous  circle  of  pupils,  however,  soon  assembled  around 
Raphael  himself,  siich  as  Giulio  Romano,  Pkbin  del  Vaga,  An- 
DBEA  DA  Saleeno,  Polidoro  DA  Cahavaggio,  Timoteo  Viti  or 
DELLA  ViTB,  Garofalo,  Franc.  Penni,  and  Giovanni  da  Udine. 
Attended  by  this  distinguished  retinue ,  Raphael  enjoyed  all  the 
honours  of  a  prince,  although  ,  in  the  Roman  art  world,  Bramante 
(p.  xlvii)  and  Michael  Angela  occupied  an  equally  high  rank.  The 
latter  did  not,  however,  trench  on  Raphael's  province  as  a  painter 
so  much  as  was  formerly  supposed,  and  the  jealousy  of  each  other 
which  they  are  said  to  have  entertained  was  probably  chiefly  confined 
to  their  respective  followers.  Raphael  had  doubtless  examined  the 
ceiling  of  the  Sistine  with  the  utmost  care,  and  was  indebted  to 
Michael  Angelo  for  much  instruction ;  but  it  is  very  important  to 
note  that  he  neither  followed  in  the  footsteps,  nor  suffered  his  native 
genius  to  be  biassed  in  the  slightest  degree  by  the  example  of  his 
great  rival.  A  signal  proof  of  this  independence  is  afforded  by  the 
Sibyls  which  he  painted  in  the  church  of  Santa  Maria  della  Pace  in 
1514,  and  which,  though  conceived  in  a  very  different  spirit  from 
the  imposing  figures  in  the  Sistine,  are  not  the  less  admirable.  In 
order  duly  to  appreciate  the  works  produced  by  Raphael  during  his 
Roman  period,  the  traveller  should  chiefly  direct  his  attention  to 
the  master's  frescoes.  The  Stanze  in  the  Vatican,  the  Tapestry,  the 
Logge,  the  finest  work  of  decorative  art  in  existence,  the  Dome 
Mosaics  in  Santa  Maria  del  Popolo  (Capp.  Chigi),  and  the  Galatea 
and  Myth  of  Psyche  in  the  Farnesina  together  constitute  the  treasure 
bequeathed  to  Rome  by  the  genius  of  the  prince  of  painters.  (Far- 
ther particulars  as  to  these  works  will  be  found  in  the  second  volume 
of  this  Handbook.) 

Many,  and  some  of  the  best ,  of  Raphael's  easel-pictures  of  his 
Roman  period  are  now  beyond  the  Alps.  Italy,  however,  still  pos- 
sesses the  Madonna  della  Sedia ,  the  most  mundane,  but  most 
charming  of  his  Madonnas  (Pitti),  the  Madonna  delV  Impannata 
(Pitti),  the  Madonna  col  Divino  Amore  (Naples),  the  Madonna  di 
Foligno  and  the  Transfiguration  (in  the  Vatican),  St.  Cecilia  (Bo- 
logna), and  the  Young  St.  John  (Uffizi).  The  finest  of  his  portraits 
are  those  of  Pope  Julius  II.  (Uffizi)  and  Leo  X.  with  two  Cardinals 
(Pitti).  Besides  these  works  we  must  also  mention  the  so-called 
Fornarina  (in  the  Pal.  Barberini  at  Rome),  and  the  Portrait  of  a 
Lady  (Pitti,  No.  245),  which  may  represent  the  same  original  and 
also  recalls  the  Sistine  Madonna. 

After  Raphael's  death  the  progress  of  art  did  not  merely  come 
to  a  standstill,  but  a  period  of  rapid  Decline  set  in.  The  conquest 
and  plundering  of  Rome  in  1527  entirely  paralysed  all  artistic  effort 
for  a  time.  At  first  this  misfortune  proved  a  boon  to  other  parts  of 
Italy.    Raphael's  pupils  migrated  from  Rome  to  various  provincial 


Ix  ITALIAN  ART. 

towns.    GiuLio  Romano,  for  example,   entered  the  service  of  the 

Dnke  of  Mantna,  embellished  his  palace  with  paintings,  and 
^Dkcli^nb.''  designed  the  Palazzo  del  Te  (p.  262),  while  Perin  del  Vaga 

settled  at  Genoa  (Pal.  Doria).  These  offshoots  of  Raphael's 
school,  however,  soon  langnlshed,  and  ere  long  ceased  to  exist. 

The  NoETHEEN  Schools  of  Italy  ,  on  the  other  hand  ,  retained 
their  vitality  and  Independence  for  a  somewhat  longer  period.  At 
Bologna  the   local  style,    modified    by  the   influence  of  Raphael, 

was  successfully  practised  by  Raet.  Ramenghi  ,  surnamed 
^^;°^°^^y"'' Bagnacavallo  (1484-1542).     Ferrara   boasted   of  Dosso 

Dossi  (ca.  1479-1542)  and  Bknvenuto  Tisi,  surnamed  Garo- 
PALO  (1481-1559).  At  Verona  the  reputation  of  the  school  was 
maintained  by  Feancksco  Caeoto  (1470-1546)  and  Paolo  Moeanua, 
surnamed  Cavazzola  (1486-1522). 

The  most  important  works  produced  in  Northern  Italy  were  those 

of  Antonio  Allegei,  surnamed  Correggio  (1494-1534),   and  of 

CouREGGio    *'^®  Venetian  masters.     Those  who  visit  Parma  after  Rome 

and  Florence  will  certainly  be  disappointed  with  the  pic- 
tures of  Correggio.  They  will  discover  a  realistic  tendency  in  his 
works,  and  they  will  observe,  not  only  that  his  treatment  of  space 
(as  in  the  perspective  painting  of  domes)  is  unrefined ,  but  that 
his  individual  figures  possess  little  attraction  beyond  mere  natural 
charms,  and  that  their  want  of  repose  is  apt  to  displease  and  fatigue 
the  eye.  The  fact  is,  that  Correggio  was  not  a  painter  of  all-em- 
bracing genius  and  far-reaching  culture ,  but  merely  an  adept  in 
chiaroscuro,  who  left  all  the  other  resources  of  his  art  undeveloped. 
In  examining  the  principal  works  of  the  VKNETLiN  School,  how- 
ever, the  traveller  will  experience  no  such  dissatisfaction  (comp. 

p.  290).   From  the  school  of  Giovanni  Bellini  ( p.  lii)  emanated 
SclfooL"    *^e  greatest  representatives  of  Venetian  painting  —  Gioe- 

GioNE,  properly  Barbarblli  (  1477?-1510),  whose  works 
have  unfortunately  not  yet  been  sufficiently  well  identified,  the 
elder  Palma  (1480-1528)  ,  and  Tiziano  Vecellio  (1477-1576),  who 
for  nearly  three  quarters  of  a  century  maintained  his  native  style  at 
its  culminating  point.  These  masters  are  far  from  being  mere  colo- 
rists;  nor  do  they  owe  their  peculiar  attraction  to  local  inspiration 
alone.  The  enjoyment  of  life  and  pleasure  which  they  so  happily 
pourtray  is  a  theme  dictated  by  the  culture  of  the  Renaissance  (a 
.  culture  possessed  in  an  eminent  degree  by  Titian,  as  indicated  by 
his  intimacy  with  the  'divine'  Aretino).  Their  serene  and  joyous 
characters  often  recall  some  of  the  ancient  gods,  showing  the  manner 
in  which  the  artists  of  the  Renaissance  had  profited  by  the  revived 
study  of  the  antique.  Properly  to  appreciate  Titian  it  is  of  impor- 
tance to  remember  how  much  of  his  activity  was  displayed  in  the 
service  of  the  different  courts.  His  connection  with  the  family  of 
Este  began  at  an  early  period ;  he  carried  on  an  active  intercourse 
with  the  Gonzagas  at  Mantua,   and  executed  numerous  pictures  for 


ITALIAN  ART.  Ixi 

them.  Later  he  basked  in  the  favour  of  Charles  V.  and  Philip  II.  of 
Spain.  The  natural  result  of  this  was  that  the  painting  of  portraits 
and  of  mythological  subjects  engrossed  the  greater  part  of  his  time 
and  talents.  That  Titian's  genius,  however,  was  by  no  means  alien 
to  religion  and  deep  feeling  in  art,  and  that  his  imagination  was  as 
rich  and  powerful  in  this  field  as  in  pourtraying  realistic  and  sen- 
sually attractive  forms  of  existence,  is  proved  by  his  ecclesiastical 
paintings,  of  which  the  finest  are  the  Pesaro  Madonna  (p.  336),  the 
Martyrdom  of  St.  Lawrence  (p.  324),  the  Presentation  in  the  Temple 
(p.  313),  and  the  Assumption  (p.  308)  at  Venice. 

Owing  to  the  soundness  of  the  principles  on  which  the  Venetian 
school  was  based,  there  is  no  wide  gulf  between  its  masters  of  the 
highest  and  those  of  secondary  rank ,  as  is  so  often  the  case  in  the 
other  Italian  schools ;  and  we  accordingly  find  that  works  by  Lo- 
aKNZO  Lotto,  Sebastian  del  Piombo  (p.  Ivii),  the  Bonifazios,  Por- 
UBNONE,  Pakis  Boedonb,  and  Jacopo  Tintob,etto  frequently  vie 
in  beauty  with  those  of  the  more  renowned  chiefs  of  their  school. 
Even  Paolo  Caliaei,  surnamed  Vekonsse  (1528-88),  the  last  great 
master  of  his  school ,  shows  as  yet  no  trace  of  the  approaching 
period  of  decline .  but  continues  to  delight  the  beholder  with  his 
delicate  silvery  tints  and  the  spirit  and  richness  of  his  compositions. 

Correggio,  as  well  as  subsequent  Venetian  masters,  were  fre- 
quently taken  as  models  by  the  Italian  painters  of  the  17th  century, 
and  the  influence  they  exercised  could  not  fail  to  be  de- 
tected even  by  the  amateur,  if  the  entire  post-Raphaelite  ueclwe^ 
period  were  not  usually  overlooked.  Those,  however,  who 
make  the  great  cinquecentists  their  principal  study  will  doubtless 
be  loth  to  examine  the  works  of  their  successors.  Magnificent  de- 
corative works  are  occasionally  encountered,  but  the  taste  is 
offended  by  the  undisguised  love  of  pomp  and  superficial  man- 
nerism which  they  generally  display.  Artists  no  longer  ear- 
nestly identify  themselves  with  the  ideas  they  embody;  they 
mechanically  reproduce  the  customary  themes,  they  lose  the  desire, 
and  finally  the  ability  to  compose  independently.  They  are,  more- 
over, deficient  in  taste  for  beauty  of  form,  which,  as  is  well  known, 
is  most  attractive  when  most  simple  and  natural.  Their  technical 
skill  is  not  the  result  of  mature  experience,  slowly  acquired  and 
justly  valued  :  they  came  into  easy  possession  of  great  resources  of 
art,  which  they  frivolously  and  unworthily  squander.  The  quaint, 
the  extravagant,  the  piquant  alone  stimulates  their  taste;  rapidity, 
not  excellence  of  workmanship,  is  their  aim.  Abundant  specimens 
of  this  mannerism,  exemplified  in  the  works  of  Zuccaeo,  d'Aepino, 
Tbmpksta,  and  others,  are  encountered  at  Rome  and  Florence 
(cupola  of  the  cathedral).  The  fact  that  several  works  of  this 
class  produce  a  less  unfavourable  impression  does  not  alter  their 
general  position,  as  it  is  not  want  of  talent  so  much  as  of  con- 
scientiousness which  is  attributed  to  these  artists. 


Ixii  ITALIAN  ART, 

The  condition  of  Italian  art,  that  of  painting  at  least,  improved 
to  some  extent  towards  the  close  of  the  16th  century,  when  there 

was  a  kind  of  second  efflorescence,  known  in  the  schools  as 
^^vivAL^"'  *^®  'revival  of  good  taste',    which  is  said  to  have  chiefly 

manifested  itself  in  two  directions  ,  the  eclectic  and  the  na- 
turalistic. But  these  are  terms  of  little  or  no  moment  in  the  study 
of  art,  and  the  amateur  had  better  disregard  them.  This  period  of  art 
also  should  be  studied  historically.  The  principal  architectural  mon- 
uments of  the  17th  century  are  the  churches  of  the  Jesuits,  which 
unquestionably  produce  a  most  imposing  effect;  but  the  historical 
enquirer  will  not  easily  be  dazzled  by  their  meretricious  magni- 
ficence. He  will  perceive  the  absence  of  organic  forms  and  the 
impropriety  of  combining  totally  different  styles,  and  he  will  steel 
liimself  against  the  gorgeous,  but  monotonous  attractions  of  the 
paintings  and  other  works  of  the  same  period.  The  bright  Renais- 
sance is  extinct,  simple  pleasure  in  the  natural  and  human  is  ob- 
literated. A  gradual  change  in  the  views  of  the  Italian  public  and 
in  the  position  of  the  church  did  not  fail  to  influence  the  tendencies 
of  art,  and  in  the  17th  century  artists  again  devoted  their  energies 
more  immediately  to  the  service  of  the  church.  Devotional  pictures 
now  became  more  frequent,  but  at  the  same  time  a  sensual,  natural- 
istic element  gained  ground.  At  one  time  it  veils  itself  in  beauty 
of  form,  at  another  it  is  manifested  in  the  representation  of  volup- 
tuous and  passionate  emotions  ;  classic  dignity  and  noble  symmetry 
are  never  attained.  Ckistoforo  Alloki's  Judith  (p.  544^  should  be 
compared  with  the  beauties  of  Titian,  and  the  frescoes  of  Annibalb 
Cakkacci  in  the  Palazzo  Farnese  at  Rome  with  Raphael's  ceiling- 
paintings  in  the  Famesina,  in  order  that  the  difference  between  the 
16th  and  17th  centuries  may  be  clearly  understood ;  and  the  enquirer 
will  be  still  farther  aided  by  consulting  the  coeval  Italian  poetry,  and 
observing  the  development  of  the  lyric  drama  or  opera.  The  poetry  of 
the  period  thus  furnishes  a  key  to  the  mythological  representations 
of  the  School  of  the  Carracci.  Gems  of  art,  however,  were  not  un- 
frequently  produced  d  uring  the  1 7th  century,  and  many  of  the  frescoes 
of  this  period  are  admirable,  such  as  those  by  Guido  Reni  and 
DoMENiCHiNO  at  Rome.  Beautiful  oil-paintings  by  various  masters 
are  also  preserved  in  the  galleries  of  Bologna  (p.  386),  Naples,  and 
elsewhere.  The  so-called  gallery-pieces,  figures  and  scenes  desig- 
nated by  imposing  titles,  and  painted  in  the  prevailing  taste  of  the 
17th  century,  were  readily  received,  and  indeed  most  appropriately 
placed  in  the  palaces  of  the  nobles.  This  retreat  of  art  to  the  privacy 
of  the  apartments  of  the  great  may  be  regarded  as  a  symptom  of  the 
universal  withdrawal  of  the  Italians  from  public  life.  Artists,  too, 
henceforth  occupy  an  isolated  position,  unchecked  by  public  opinion, 
exposed  to  the  caprices  of  amateurs,  and  themselves  inclined  to  an 
arbitrary  deportment.  Several  qualities ,  however,  still  exist  of 
which  Italian  artists  are  never  entirely  divested ;    they  retain    a 


ITAXIAN  ART.  Ixiii 

certain  address  in  the  arrangement  of  figures,  they  preserve  their 
reputation  as  ingenious  decorators,  and  understaud  the  art  of  occa- 
sionally imparting  an  ideal  impress  to  their  pictures  ;  even  down  to 
a  late  period  in  the  I8th  century  they  excel  in  effects  of  colour, 
and  by  devoting  attention  to  the  province  of  genre  and  landscape- 
painting  they  may  boast  of  having  extended  the  sphere  of  their 
native  art.  At  the  same  time  they  cannot  conceal  the  fact  that  they 
have  lost  all  faith  in  the  ancient  ideals,  that  they  are  Incapable  of 
new  and  earnest  tasks.  They  breathe  a  close,  academic  atmosphere, 
tliey  no  longer  labour  like  their  predecessors  in  an  independent 
and  healthy  sphere,  and  their  productions  are  therefore  devoid  of 
absorbing  and  permajient  interest. 

This  slight  outline  of  the  decline  of  Italian  art  brings  us  to 
the  close  of  our  brief  and  imperfect  historical  sketch,  which,  be 
it  again  observed,  is  designed  merely  to  guide  the  eye  of  the 
enlightened  traveller,  and  to  aid  the  uninitiated  in  independent 
discrimination  and  research. 


Contents  of  Article  on  Italian  Art :  p^„ 

Art  of  Antiquity:  the  Greeks  and  Uomaus xxxi 

The  Middle  Ages:  Early  Christian  Art xxxiii 

Byzantine  style xxxv 

Roinanes'iue  style xxxvi 

Gothic  style xxxviii 

Niccolo  Pisano,  Giotto xxxix,  xl 

Thf  Renaissance xlii 

Architecture xliv 

Early  Renaissance xlv 

High  Renaissance xlvii 

Sculpture .     .  xlviii 

Painting : 

(Tuscan  Schoils li 

XV.  Cent.    [  Upper  Italian  Schools.     The  Venetians  ....  lii 

lUmhrian  School liii 

i Leonardo  da  Vinci liii 

Michael  Angelo  and  his  pupils liv 

Raphael,  his  contemporaries,  and  his  pupils  .  Ivii 

Correggio Lx 

Venetian  masters L\ 

End  of  the  XVI.,  and  XVII.  Cent.:  Mannerists,  'NaturaUsts,  Eclectics  Ixi 


Among  the  best  works  m  Italian  art  are  Morelli's  Italian  Painters: 
Crowe  &  Caialcaselle's  History  of  Painting  in  Italy  (2nd  edit.;  1S03)  and 
History  of  Painting  in  Sorth  Italy  (1871);  Kuglers  Handbook  of  Painting  (utw 
edit,  by  Sr  H.  Layard;  1887);  Sirs.  Jameson's  Lives  of  the  Italian  Painters; 
Bernhard  Berensvns  Florentine  Painters  of  the  Renaissance  (V)nd  ed.;  19u6), 
Venetian  Painters  of  the  Renaissance  (3rd  ed. ;  1899),  and  Central  Italian 
Painters  of  the  Renaissance  (l>-97) ;  and  the  works  of  Mr.  C.  C.  Perkins  on 
Italian  Hculpture.  A  convenient  and  trustworthy  manual  lor  the  traveller 
in  Italy  is  Ilnrckhardt's  Cicerone  (translated  by  Mrs.  A.  H.  Clough;  new  ed. 
revised  by  J.  A.  Crowe,  1879). 


Ixiv 


ITALIAN  ART. 


Glossary  of  Technical  Terms. 


Ambo,  Ambones,  see  p.  xxxiv. 

Apie  or  Trilwia^  semicircular  or  poly- 
gonal ending  of  a  church,  generally 
at  its  £.  end. 

Attic,  a  low  upper  story,  usually  with 
pilasters. 

Badia,  Abbazia,  an  abbey. 

Basilica,  a  church  with  a  high  nave, 
ending  in  an  apse  and  flanked  by 
lower  aisles.  For  the  early-Chris- 
tian basilica,  comp.  p.  xxxiv. 

Borgo,  Sobborgo,  a  suburb. 

Campanile,  detaeht-d  bell- tower  of 
the  Italian  churches. 

Campo  Santo,  Cimitero,  a  cemetery. 

Central  Structure,  a  building  the 
ground-plan  iif  which  can  be  en- 
closed in  a  circle. 

Certuia,  Carthusian  convent. 

Chiostro,  cloisters,  a  monastic  court. 

Ciborium,  the  sacred  vessel  or  box 
(pyx)  in  which  Ihe  consecrated 
eucbaristic  elements  are  preserved. 
Al.so,  a  cancpy  above  the  altar, 
supported  by  four  pillars. 

Cinquecenio,  16th  century. 

Collegia,  college,  common  table  at  a 
college. 

Confession,  an  underground  chamber 
below  the  high-altar  of  a  church, 
with  the  tomb  of  its  patron-saint, 
the  original  form  of  the  crypt. 


Diplpch,    double    folding    tablet    of 

wood,  ivory,  or  metal. 
Loggia,  arcade,  balcony. 
Monte  di  Pietil,  pawn-shop. 
Municipio,  municipality,  city-hall. 
Niello ,    engraved    design    on    silver, 

with    incised   lines    filled   with   a 

black  alloy;  impressions  from  such 

designs. 
Palazzo    Arcivescovile ,     archbishop's 

palace. 

—  Comunale  or  Pubblico,  city-hail. 

—  delta  Ragione,  a  law-court  (now 
usually  called  Pal.  di  Giustizia  or 
Tribunate). 

—  Vescovile,  bishop's  palace. 
Plaquette,  small   bronze    tablet  with 

reliefs. 
Predella,  small  picture  attached  to  a 

large  altar-piece. 
Putto  (pi.  pulti),  figure  of  a  child. 
Quattrocento,  16th  century. 
Kitstica,  masonry  with  rough  surface 

and  hewn  edges. 
Triumphal  Arch  (in   a   church),    the 

arch  connecting  the  choir  with  the 

transept  or  nave. 
Vescovado,   bishopric,  episcopal  pal- 
ace. 
Villa,  country-house  and  park. 
Visitation,  Meeting  of  the  Virgin  Mary 

and  Elizabeth  (St.  Luke,  chap.  i). 


Abbreviations  of  Italian  Christian  Names. 


Ag.  - 

=  Agostino. 

Bern.   =  Bernardo, 

Al.  = 

=  Alessandro. 

Bernardino. 

Alf. 

=  Alfonso. 

Dom.  =  Domenico. 

Andr 

.  =  Andrea. 

Fed.  =  Federigo. 

Aug. 

=  Angelo. 

Fil.  =  Filippo. 

Ant. 

=  Antonio. 

Franc.  =  Francesco 

Bart. 

=  Bartolomeo. 

Giac.  =  Giacomo. 

Batt. 

=  Battista. 

Giov.   =  Giovanni. 

Ben. 

=  Benedetto. 

Girol.  =  Girolamo. 
Gius.  =  Giuseppe. 

Gugl.  =  Guglielmo. 
Jac.  =  Jacopo. 
Lod.  =  Lodovico. 
Lor.  =  Lorenzo. 
Nice.  =  Niccolo. 
Rid.   =  Ridolfo. 
Seb.   =  Sebastiano. 
Tomm.   =  Tommaso. 
Vine.  =  Vincenzo. 
Vitt.  =  Vittore. 


I.  Routes  to  Italy.^ 


1.  From  Paris  ffrejieraj  to  Turin  by  Mont  Cenis  ....        1 

From  Geneva  to  Culoz,  1. 

2.  From  Brigue  (Lausanne)  to  Milan  via  Aroiia.   Simplon 
Railway 8 

3.  From  Lucerne  (Bale)  to  Lugano,  Como,  and  Milan. 

St.  Gotthard  Railway 6 

4.  From  Thusis  to  Colico  over  the  Spliigen 17 

5.  From  Innsbruck  to  Verona  by  the  Brenner 19 

From  Trent  to  Tezze,  21.  —  From  Mori  to  Eiva,  22. 

6.  From  Vienna  to  Venice  via  Pontebba 23 


1.    From  Paris  (Geneva)  to  Turin  by  Mont  Cenis. 

490  M.  Railway  in  16'/2-27'/2  hrs.  (fares  91  fr.  50,  62  fr.  15,  40  fr.  20  c). 
Travellers  are  recommended  to  leave  Paris  (Gare  de  Lyon)  by  the  night 
express  (sleeping-cars)  in  order  to  cross  the  Alps  by  daylight.  —  The 
'Rome  Express"  ('train  de  luxe';  extra  fare  to  Turin  29  fr.  5  c.)  leaves 
Paris  on  Hon.,  Thurs.,  and  Sat.  in  winter. 

From  Paris  to  (348  M.)  Culoz  (774  ft.;  Hdtel  FoUiet;  Rail. 
Restaurant),  the  junction  of  the  Geneva  line,  see  Baedeker's  North- 
em  France  and  Baedeker's  Southern  France. 

Fbom  Geneva  to  Cdloz,  42  M.,  railway  in  l'/2-2V2  hrs.  (fares  8  fr.  10  c, 
6fr.,  4fr.  45  c.).  The  line  follows  the  right  bank  of  the  Rhone,  on  the 
slopes  of  the  Jura  Mts.  Beyond  (14V2  M.)  Collonges  the  Rhone  flows  through 
a  narrow  rocky  valley,  confined  between  the  Jura  and  Mont  Vouacke, 
and  commanded  by  the  Fori  de  I'Ecluse ,  which  rises  far  above  on  the 
right.  The  line  quits  the  defile  by  the  long  Tunnel  du  Crido  (2V3  M.), 
crosses  the  grand  Valserine  Viaduct  (275  yds.  long  and  170  ft.  high),  and 
reaches  (20'  2  JI.)  Bellegarde  (Poste),  at  the  influx  of  the  Valserine  into  the 
Rhone  (French  custom-house  examination).  —  42  M.  Culoz. 

The  train  crosses  the  Rhone ,  and  at  (352'/2  M.)  Chindrieux 
reaches  the  N.  end  of  the  Lac  du  Bourget  (746  ft.),  10  M.  In  length, 
3  M.  in  breadth,  the  E.  bank  of  which  it  follows.  On  the  opposite 
bank  is  the  Cistercian  abbey  of  Hautecomhe. 

362  M.  Aix-les-Baius  (850  ft.;  Splendide-Hotel  Royal;  Grand 
Hot.  Bernascon  et  Reyina;  Grand  Hot.  d' Albion;  Hot.  de  la  Poste, 
Hot.  du  Centre,  less  expensive ;  and  many  others),  the  Aquae  Gra- 
tianae  of  the  Romans,  is  a  fashionable  watering-place  with  8120  in- 
hab.,  possessing  sulphur-springs  (113°  Fahr.).  In  the  place  in  front 
of  the  Etablissement  Thermal  rises  the  Arch  ofCampanus,  a  Roman 
tomb  of  the  3rd  or  4th  cent.,  built  in  the  shape  of  a  triumphal  arch. 

370  M.  Chambery  (880  ft. ;  Hot.  de  France ;  Hot.  de  la  Poste  ^' 
MitropoU;  Hot.  du  Commerce^,  beautifully  situated  on  the  Leysse, 
with  22,100  inhab.,  is  the  capital  of  the  Department  of  Savoy  and 
an  archiepiscopal  see. 

t  Approaches  to  Italy  through  France,  see  Baedeker's  Southern  France. 
Baedekek.    Italy  I.    13th  Edit.  i 


2     Route  1.  MONT  CENIS  TUNNEL, 

3781/2  M.  Montmelian  (921  ft.).  The  ancient  castle  was  long 
the  bulwark  of  Savoy  against  France  until  its  destruction  in  1705 
by  Louis  XIV.  —  The  train  now  ascends  the  valley  of  the  Jsere.  — 
386  M.  St.  Pierre  d'Albigny  (buffet),  the  junction  of  the  branch-line 
to  Albertville  and  (32  M.)  Moiitiers-en-Tarentaise;  the  town  lies 
opposite  on  the  right  bank,  commanded  by  the  ruins  of  a  castle.  — 
Near  {388^/-2M.')  Chaniousset  the  line  turns  to  the  right,  and  enters 
the  valley  of  the  Arc  (Vallee  de  Maurienne) ,  which  here  joins  the 
Isere.  422  M.  St.  Michel  de  Maurienne  (2330  ft.).  Numerous 
tunnels.  —  428  M.  La  Praz  (3135  ft.). 

431  M.  Modane  (3465  ft.;  Buffet,  dt^.  with  wine  4  fr.  ;  Hotel 
International  et  Terminus,  R.  21/2-'^?  de'j.  or  D.  3  fr.)  is  the  seat  of  the 
French  and  Italian  custom-house  authorities  (carriages  changed ; 
departure  according  to  Mid-Europe  time). 

The  train  (view  to  the  right)  describes  a  wide  curve  round  the 
village,  and,  passing  through  two  short  tunnels,  enters  the  great 
Mont  Cenis  Tunnel,  by  which  the  Col  de  Frijus  (8470  ft.)  is  pen- 
etrated in  a  S.E.  direction,  though  the  name  is  derived  from  the  old 
Mont  Cenis  road,  which  crosses  the  Mont  Cenis  Pass,  17  M.  to  theE. 

The  funnel  (T'A  M.  in  length;  N.  entrance  3800  ft.,  S.  entrance  4100  ft. 
above  the  sea-level;  height  in  the  centre  4245  ft.,  depth  below  the  sur- 
face of  the  mountain  4090  ft.)  was  completed  in  1861-1870  under  the 
superintendence  of  the  engineers  Sommeiller,  Grandis,  and  Grattoni  at  a 
total  cost  of  75,0O0,000fr.  The  tunnel  is  26  ft.  wide,  19  ft.  high,  and  has 
two  lines  of  rails.  It  is  lighted  by  lanterns  placed  at  intervals  of  500 
metres,  and  the  distances  are  given  in  kilometres.  The  transit  occupies 
25-30  minutes.  Travellers  are  warned  not  to  protrude  their  heads  or  arms 
from  the  carriage-windows  during  the  transit,  and  are  also  recommended 
to  keep  the  windows  shut. 

At  the  S.  end  of  the  tunnel,  5  M.  from  the  frontier,  is  (444  M.) 
Bardonnecchia  (4125  ft.),  the  first  Italian  station.  The  best  views 
are  now  to  the  left.  —  Near  (451  M.)  OuLv  (3500  ft.),  the  Roman 
Villa  Mortis,  the  line  enters  the  picturesque  valley  of  the  Bora 
Riparia.  Beyond  a  bridge  and  two  tunnels  is  (455  M.)  Salbertrand 
(3303  ft.).  Before  the  next  station  nine  tunnels  are  traversed.  To 
the  left,  between  the  second  and  third,  a  glimpse  is  obtained  of 
the  small  town  of  Exilles,  with  the  frontier-fortress  of  that  name.  — 
461 1/2  M.  Chiomonte  (2525  ft.).  The  valley  contracts  and  forms  a 
wild  gorge  (Le  Gorgie),  of  which  beautiful  views  are  obtained,  with 
the  Mont  Cenis  road  winding  up  the  hill  on  the  farther  side,  and 
the  Rocciamelone  (Fr.  Roche- Melon;  11,604  ft.)  and  other  peaks 
towering  above  it.  When  the  valley  expands,  Susa,  with  its  Roman 
triumphal  arch,  comes  in  sight  on  the  left  (see  p.  44).  —  465  M. 
Meana  (1950  ft.),  1  M.  from  Susa.  Three  tunnels.  The  train  then 
descends  through  beautiful  chestnut-woods,  and  crosses  the  Dora. 
—  471  M.  Bussoleno  (1425  ft.),  the  junction  of  the  branch-line  to 
Susa  described  at  p.  44. 

At  (475  M.)  Borgont  the  Dora  is  crossed.  —  Beyond  (482  M.) 
SanV  Ambrogio  di  Torino  (1160  ft.)  the   line  traverses  the  Chiuse, 


SIMPLON  TUNNEL.  2.  Route,     o 

a  narrow  pass ,  fortified  by  the  Lombards ,  between  tlie  Montt 
Pirchiriano  (3150  ft.;  right)  and  the  Monte  Caprado  (left),  where 
Charlemagne  defeated  the  Lombard  King  Desiderius  in  774. 

A  bridle-path  ascends  in  1^4  br.  from  Sant'  Anibrogio  to  the  "^Sagra  di 
San  Michele,  a  monastery  founded  in  9'J9  upun  the  rucky  summit  of  the 
Jlonte  Pirchiriano  (Alb.  Giaeosa,  clean,  at  San  Pielro,  'A  hr.  from  the  top). 
The  monastery,  enlarged  by  the  Benedictines  in  the  12th  cent.,  is  now 
ixcupied  by  a  few  Kosminian  monks  (p.  2U0).  The  Scalone  de'  Morti,  a 
staircase  hewn  in  the  rock,  ascends  through  the  Porta  dello  Zodiaco 
(Romanesque  sculptures)  to  the  Romanesque  church,  the  apse  of  which 
rests  upon  massive  foundations,  75  ft.  deep.  Various  scions  of  the  House 
of  Savoy  are  interred  in  the  crypt.  The  line  view  ranges  over  the  valley 
of  Susa,  the  Alps,  and  the  plain  of  Piedmont.  A  bridle-path  descends  to 
(I'/i  hr.)  Aviyliana. 

485  M.  Avigliana  (llOSft.),  a  mediaeval  town  with  a  large 
dynamite  factory.  The  hills  below  Avigliana,  once  enclosing  a  lake, 
are  the  lateral  moraines  of  the  ancient  Doria  Riparia  glacier.  — 
Beyond  (488  M.)  Rosta  the  valley  expands  into  a  broad  plain. 

About  3  M.  from  Rosta  lies  the  Abhazia  di  Sanf  Antonio  di  Eaiiverso, 
founded  in  1188,  with  a  Gothic  facade  of  three  gables.  The  his:h-altar-piece 
is  a  Nativity,  by  Defendente  de  Ferrari ;  in  the  sacristy  is  a  15th  cent,  fresco 
of  the  Bearing  of  the  Cross. 

499  M.  Turin,  see  p.  27. 

2.  From  Brigue  (Lausanne)  to  Milan  via  Arona« 
Simplon  Railway. 

100  31.  Railwat,  opened  in  1906,  in  3'/2-T  hrs.  (from  Lausanne  G'/a- 
t2>/4  hrs.).  Best  views  to  the  left  beyond  Domodossola.  Gump,  the  Map, 
p.  193.  —  From  London  via.  Botilogne.  ordinary  express  in  24V'2  hrs.  (lares 
Ist  cl.  11.  is.  4rf. ;  2nd  cl.  bl.  6«.);  via  Calais  in  33  hrs.  'Simplon  Kxpress' 
(train  de  luxe ;  extra  fare  21.  18«.  Qd.)  from  Calais  (London)  in  211/2  hrs.  on 
ilon.,  Wed.,  and  Sat.  in  summer. 

Brigue  (2245  ft. ;  Hotel  Couronnc  et  Poste;  Angletsrre;  Term- 
inus, etc. ;  RaiLRestauTant\  a  well-built  little  town,  with  a  turreted 
chateau,  is  the  terminus  of  the  Rhone  Valley  Line  (see  Baedeker's 
Switzerland^  and  the  starting  point  of  the  Simplon  Railway. 

The  Simplon  Railway  quits  the  valley  of  the  Rlione  IY2  ^^• 
above  Brigue  and  enters  the  Simplon  Tunnel  (121/4  M.),  the  longest 
railway-tunnel  in  the  world,  which  pierces  the  chain  of  the  Lepoii- 
tine  Alps  in  a  S.W.  direction  between  the  Furggenbaumhorn  (Ital. 
Punta  d'AuTona;  9815  ft.)  and  the  Wa^enhorn  (Ital.  Punta  di  Terra- 
rossa;  10,680  ft.),  near  the  point  where  the  Simplon  Road,  constructed 
by  order  of  Napoleon  in  1800-1806,  crosses  the  Simplon  Pass. 

The  tunnel,  which  was  constructed  in  1H98-1906  at  a  total  cost  of 
75,5C0,000  fr.,  by  Brandt  (d.  1899),  Bi-andau,  and  other  engineers,  differs 
from  all  similar  con>tructions  inasmuch  ;is  it  consists  of  two  parallel  tun- 
nels, 55  ft.  apart,  which  were  connected  with  each  other  during  the  con- 
struction by  transverse  shafts  at  intervals  of  22L)  yds.  Only  one  of  these 
tunnels  has  as  yet  been  completely  linished,  the  other  having  hitherto  been 
used  for  ventilation,  for  the  supply  of  water,  and  for  the  conveyance  of 
the  material  and  workmen.  From  the  N.  entrance  (2'25f)  ft.)  tbe  tunnel 
ascends  at  the  gra  'lent  of  2 :  KKX)  to  the  {b^U  M.)  culminating  point  (2:)03  ft.), 
wLich  lies  7000  ft.  below  the  mountain-surface  above;  then,  after  remaining 

1* 


4     Route  2.  DOMODOSSOLA.  From  Brigue 

on  the  level  for  550  yds.,  it  descends  (gradient  7  :  1000)  to  the  (6V4  M.) 
S.  entrance  (2080  ft.),  at  Iselle,  in  the  valley  of  the  Diveria  (see  below). 
The  first  5'/2  M.  of  the  tunnel  arc  in  Swiss  territory.  Trains  make  the 
transit  in  20-25  minutes. 

131/2  M.  Iselle  di  Trasquera  (^2155  ft. ;  Hut.  du  Grand  Tunnel 
du  Simplon,  II.  1V2-3,  B.  II/2  fr- ))  with  new  fortifications,  is  situated 
in  the  picturesque  Val  di  TVrfro,  which  is  watered  by  the  Diveria  or 
Doveria.  The  construction  of  the  railway  between  Iselle  and  Domo- 
dossola  was  attended  by  great  difficulty,  as  more  than  half  the  distance 
is  occupied  by  tunnels  and  cuttings  (cost,  1,600,000  fr.  per  mile). 

The  line  traverses  the  valley  of  the  Cairasca  by  means  of  a  spiral 
tunnel,  and  then  again  descends  the  Val  di  Vedro.  —  17^2  M.  Varzo 
(1865  ft. ;  Albergo  Zanalda).  The  scenery  now  assumes  a  distinctly 
Italian  character:  chestnut-trees,  fig-trees,  mulberries,  vines,  and 
maize  abound. 

The  railway  crosses  to  the  right  bank  of  the  river  in  a  picturesque 
ravine.  —  23  M.  Preglia  (960  ft.)  lies  near  the  influx  of  the  Diveria 
into  the  Toce  (or  Tosa),  which  issues  from  the  Val  Antigorio  (see 
Baedeker's  Sivitzerland).  Below  this  point  the  broad  and  fertile  valley, 
frequently  injured  by  inunilations,  is  known  as  the  Val  d'Ossola. 

251/2  M.  Domodossola  (915  ft. ;  Hotel  Terminus  el  Espagne,  R. 
2V2-5,  omn.  72  fr-;  ^^^t-  ^«  ^«  Ville  et  Poste,  with  cafe',  R.  31/2  ft-; 
Hot.  Milan  et  Suisse.,  R.  2-3  fr. ;  Birreria  Barisoni;  Buffet),  the  an- 
cient Oscela,  a  small  town  with  3500  inhab. ,  beautifully  situated, 
is  the  seat  of  the  Italian  and  Swiss  custom-houses  and  the  junction 
of  a  line  to  Novara  (R.  17).  The  Palazzo  Silva  (16th  cent.)  contains 
a  small  museum  of  antiquities ;  the  Museo  Galletti  a  library  and  a 
cabinet  of  coins.  The  Calvary  Hill,  20  min.  to  the  S.,  commands 
a  superb  view  towards  the  N. 

About  41/2  M.  to  the  W.  lies  Bognanco  (2083  ft.),  the  chief  place  of  the 
Val  di  Bogna,  with  mineral  springs  and  a  hydropathic  establishment  ('Kur- 
haus,  open  from  June  to  Sept.;  pens,  from  10  fr.).  English  physician. 
Dr.  H.  Dan  vers  (in  summer). 

The  Simplon  Railway  passes  to  the  left  bank  of  the  Toce,  which 
separates  into  several  arms  and  fills  the  whole  valley  with  its  de'bris. 
—  29  M.  Beura  (810  ft.),  at  the  base  of  the  hills  on  the  E. 

331/2  M.  Vogogna  (715  ft.;  Corona),  picturesquely  situated  at 
the  foot  of  precipitous  rocks,  with  a  ruined  castle.  Near  the  village 
is  an  inscription  on  a  rock ,  dating  from  the  reign  of  Septimius 
Severus.  —  381/2  M.  Premosello ;  41 M.  Cuzzago  ,•  both  with  stations  on 
the  Novara  railway.  —  To  the  left  appear  the  white  marble-quarries 
of  Candoglia,  which  have  been  worked  by  the  Milanese  ever  since 
the  construction  of  the  Naviglio  Grande  (p.  68).  Milan  Cathedral 
and  part  of  the  Certosa  di  Pavia  are  built  of  Candoglia  marble. 

42  M.  Mergozzo  (670  ft.)  lies  at  the  W.  end  of  the  Lago  di  Mer- 
gozzo,  originally  an  arm  of  the  Lago  Maggiore,  with  which  it  is  now 
connected  only  by  a  narrow  channel.  —  The  railway  skirts  the  S.W. 
bank  of  the  lake,  at  the  foot  of  the  Mon(  Orfano  (2595  ft.),  noted 
for  its  granite-quarries. 


to  Milan.  GALLARATE.  2.  Route.     5 

44  M.  Pallanza-Fondo  Toce ;  the  station  lies  4  M.  to  the  W.  of 
Pallanza  (p.  197),  on  the  road  from  Locarno  to  the  railway-station 
of  Gravellona  (p.  69;  motor-omnibus,  see  p.  192). 

Crossing  the  Tosa  by  a  three-arched  iron  bridge,  160  yds.  long, 
at  Feriolo  (p.  198),  the  train  now  reaches  the  Lago  Maggiore.  — 
Between  the  tunnels  beyond  (47  M.)  Baveno  (p.  198)  we  obtain,  to 
the  left,  a  charming  *View  of  the  Borromean  Islands  (p.  199),  in 
the  middle  of  the  W.  bay  of  the  lake,  and  of  Suna  and  Pallanza  on 
the  opposite  bank.  —  50  :M.  Strem  (p.  200);  53Vo  M.  Belairate 
(p.  201);  541/2  M.  Lesa  (p.  201);  57  M.  Meina  (p.  201).  All  these 
are  also  steamboat-stations  fcomp.  p.  201). 

60  M.  Arona,  see  p.  201.  —  Arena  is  the  junction  for  lines  to 
Turin  \ia  Santhia  (R.  15)  and  to  Genoa  via  Novara  (R.  30). 

Our  line  now  rounds  the  S.  end  of  the  Lago  Maggiore  and  crosses 
the  Ticino  by  the  bridge  mentioned  on  p.  189.  —  631/2  M.  Sesto 
Calende  (p.  189)  is  the  junction  for  the  line  to  Bellinzona  and  Genoa. 

68  M.  Vergiate.  —  VOi/o  M.  Somma  Lomhardo  (920  ft.),  with  a 
venerable  cypress  95  ft.  in  height,  lies  near  the  E.  bank  of  the  Ticino 
(Ticinus),  where  Hannibal  overthrew  P.  Cornelius  Scipio  in  B.C. 
218.  On  the  neighbouring  heath  (brughiera)  is  a  large  manoeuvre- 
ground,  with  a  camp.  —  721/2  M.  Casorate  Sempione. 

75  M.  Gallarate  (780  ft.;  Alb.  Leon  d'Oro),  a  town  with  9600  in- 
hab.,  at  the  S.E.  base  of  a  range  of  hills  bounding  the  Lombard 
plain,  contains  the  Romanesque  church  of  San  Pietro  (11th  cent.) 
and  a  technical  school,  and  carries  on  manufactures  of  textile  fabrics. 
It  is  the  junction  for  the  electric  railway  from  Milan  to  Porto  Ceresio 
(H.  28)  and  for  a  branch-line  to  Laveno  (comp.  p.  185). 

At  Vizzola,  6  M.  to  the  W.  of  Gallarate,  beyond  the  heath  mentioned 
above,  are  very  large  -Electric  Works  (18,000  horse-power),  erected  on 
the  Ticino  in  189S-1901.  Water-power  is  conducted  hither  from  the  dam 
at  Somma  Lombardo  (see  above)  by  means  of  the  Canale  Industrial e,  41/2  M. 
in  length.  Klectric  power  is  distributed  from  this  centre  to  Sesto  Calende, 
Gallarate,  Saronno,  and  other  neighbouring  places.  —  Another  electric 
work,  at  Tornaienio,  1  M.  to  the  S.W.  of  Gallarate,  supplies  the  current 
for  the  electric  railway  to  Porto  Ceresio. 

791/2  ^'  ^usto  Arsizio  (Alb.  del  Vapore),  a  town  with  17,600  in- 
hab.  and  cotton-factories.  The  domed  church  of  Santa  Maria,  built 
in  1517  by  Lonati  from  Bramante's  designs,  contains  frescoes  by 
Gaud.  Ferrari.    Branch-line  to  Novara  and  Seregno  (p.  68). 

821/2  M.  Legnano  (650  ft.;  18,300  iuhab.),  with  cotton-factories 
and  machine -.•shops,  where  Frederick  Barbarossa  was  defeated  by 
the  Milanese  in  1176,  an  event  commemorated  by  a  large  monu- 
ment, by  E.  Butti  (1900),  in  the  Piazza  Federico  Barbarossa.  The 
church  of  San  Magno,  ascribed  to  Bramante,  contains  a  large  altar- 
piece,  one  of  the  best  works  of  Luini. 

91  M.  Ehb  (520  ft. ;  p.  68) ,  with  silk-factories  and  the  church 
of  the  Madonna  dei  Miracoli  by  Pellegrino  Tibaldl  (1584;  facade 
1721,  dome  1752-65).  —  96  M.  Musocco  (p.  161). 

100  M.  Milan,  see  p.  128. 


6 

3.  From  Lucerne  (Bale)  to  Lugano,  Como,  and  Milan. 
St.  Gotthard  Railway. 

173  M.  Express  in  6  hrs.  (1st  cl.  only  ;  customs-examination  in  the 
train);   fast  train  (some  1st  <fe  3rd  cl.  only)   in  6V2-'^V'i  hrs.  (fares  36  fr.  5, 

25  fr.  30,  17  fr.  Soc);  ordinary  train  in  II-II3/4  hrs.  (customs-examination 
at  Chiasso).  —  At  Arih-Ooldau  (see  below)  this  line  is  joined  by  the  branch 
from  Ziirich  (V/t-V/i  hr.).  —  A  dining-car  is  attached  to  the  express 
train  (dej.  4,  D.  5  fr.)  and  also  (as  far  as  Chiasso)  to  the  afternoon  fast 
train  (dej.  3V2,  D.  4  fr.).  The  night  express  has  a  sleeping-carriage.  A 
table-d'hote  dinner  (3V2  fr.,  inclad.  wine)  for  passengers  by  the  day-train 
is  provided  at  Gceschenen,  where  the  traveller  should  be  careful  to  avoid 
an  involuntary  change  of  carriages ,  or  even  of  trains.  —  Finest  views 
from  Lucerne  to  Fliielen  on  the  right,  from  FlUelen  to  GoBschenen  on  the 
left,  from  Ariolo  to  Eellinzona  to  the  right,  and  from  Lugano  to  Como  to 
the  left.  —  The  "Steamboat  Voyage  on  the  Lake  of  Lucerne  from  Lucerne 
to  Fliielen  (2'/4-25/4  hrs.)  is  much  pleasanter  than  the  railway-journey 
(I-I1/2  hr.)  and  is  recommended  to  those  who  are  not  pressed  for  time. 
Comp.   Baedeker's  Switzerland. 

The  *St.  Gotthard  Railway  was  constructed  in  1872-82,  at  a  total  cost 
of  245  million  francs.  Its  highest  point  is  in  the  middle  of  the  great  tunnel 
and  is  3787  ft.  above  the  level  of  the  sea.    The  inclines  (maximum  gradient 

26  :  1000)  have  been  surmounted  partly  by  large  spiral  tunnels,  of  which 
there  are  three  on  the  N.  side  of  the  St.  Gotthard  and  four  on  the  S.  In 
all  the  railway  has  80  tunnels  (with  an  aggregate  length  of  29  M.)  and 
324  bridges  over  30  ft.  in  span.  The  great  tunnel  alone  cost  nearly  57  million 
francs.  Louit  Favre ,  the  engineer,  died  of  apoplexy  in  the  tunnel  on 
July  19th,  1879. 

Lucerne.  —  Hotels.  Schweizerhof&Ldzeener  Hof;  Hotel  National  ; 
Palace  Hotel;  BBAnKiVAGE;  Edrope  ;  Angletekke  ;  Swan  &  Rigi,  all  on 
the  lake.  —  Hotel  dd  Lac,  St.  Gotthard,  31onopole  et  MtTROPOLE,  all 
near  the  station.  —  Sauvage,  Rcessli,  Engel,  unpretending. 

Lucerne  (1437  ft.),  the  capital  of  tlie  canton  of  that  name,  with 
33,400  iiihah.,  is  beautifully  situated  at  the  efflux  of  the  Eeuss 
from  the  Lake  of  Lucerne.  The  best  view  is  obtained  from  the 
Giltsch  (1722  ft.),  at  the  N.W.  end  of  the  town,  1/2  M.  from  the 
station  (cable-railway).  Near  the  station  is  the  Museum  of  Peace  and 
War.  The  celebrated  Lion  of  Lucerne,  designed  by  Thorvaldsen, 
and  the  Glacier  Garden,  with  numerous  'glacier- mills',  lie  1/4  M. 
to  the  N.  of  the  Schweizerhof-Quai.  For  details,  see  Baedekers 
Switzerland. 

The  railway  skirts  Lucerne  in  two  tunnels  and  then  runs  towards 
the  Kiissnacht  arm  of  the  Lake  of  Lucerne.  The  view  is  very  fine, 
with  the  Rigi  rising  in  front  of  us.  —  12  M.  Immensee  (1520  ft.),  on 
the  Lake  of  Zug;  I71/2  M.  Arth-Goldau  (see  above).  Beyond  (25  M.) 
Brunnen  the  line  reaches  the  Urner  See  or  E.  arm  of  the  Lake  of 
Lucerne,  along  which  it  runs  through  a  succession  of  tunnels. 

Beyond  (32  M.)  Fluelen  (1435  ft.  ;  Weisses  Kreuz,  Adler,  etc.) 
the  train  ascends  the  broad  valley  of  the  Eeuss,  via  (38  M.)  Erst- 
feld.  —  The  most  interesting  part  of  the  railway  begins  at  (411/2  M.) 
Amsteg-Silenen  (1760  ft.).  The  train  crosses  the  Kaerstelenhach  by 
an  imposing  bridge,  commanding  a  view  of  the  Maderaner-Tal,  to 
the  left,  and  of  the  Reuss-Tal ,  to  the  right,  and  is  then  carried 
through  the  slope  of  the  Bristenstock  (10,085  It.)  by  means  of  two 


AIROLO.  3.  Route.     7 

tunnels,  and  across  the  Reuss  by  an  iron  bridge,  256  ft.  high.  We 
now  follow  the  left  bank  of  the  picturesque  Reuss  valley,  traverse 
a  tunnel,  cross  the  Inschialp-Bach  and  the  Zgraggen-Tal,  and  skirt 
the  mountain  through  three  tunnels  and  over  a  viaduct. 

Beyond  (50  M.)  Gurtnellen  (2300  ft.}  the  train  crosses  the  Gor- 
neren-Back  and  the  Haegrigen-Bach,  enters  the  Pfaffenspning  Spiral 
Tunnel  (1635  yds.  long;  115  ft.  of  ascent),  and  cros^-es  the  Lower 
Meienreuss  Bridge.  Beyond  the  Wattinger  Spiral  Tunnel  (1199  yds. 
long;  76  ft.  of  ascent)  the  train  again  crosses  the  Reuss  and  pene- 
trates another  tunnel  to  — 

51  M.  Wasen  (3050  ft.),  a  considerable  village,  the  church  of 
which,  owing  to  the  windings  of  the  railway,  seems  constantly  to 
shift  its  position.  The  imposing  Middle  Meienreuss  Bridge  (260  ft. 
high)  and  the  Leggistein  Spiral  Tunnel  (1204  yds.  long,  82  ft.  of 
ascent)  now  carry  us  to  the  Upper  Meienreuss  Bridge,  where  we  cross 
the  wild  and  deep  ravine  of  the  Meienreuss  for  the  third  time. 
Passing  through  another  tunnel  and  skirting  the  face  of  the  moun- 
tains, we  obtain  a  view  of  W"asen,  far  below  us,  and  of  the  windings 
just  traversed.  Opposite  rises  the  Rienzer  Stock  (9785  ft.  ].  We 
next  cross  two  fine  bridges,  penetrate  the  Naxherg  Tunnel  (1  M. 
long),  and,  immediately  beyond  the  village  o^  Goeschenen,  cross  the 
deep  gorge  of  the  Goeschenen- Reuss  (view  of  the  Goeschenen-Tal 
to  the  right,  with  the  beautiful  Dammafirn~). 

56  M.  Goeschenen  (3640  ft. ;  *Rail.  Restaurant,  comp.  p.  6). 

Immediately  beyond  the  station  the  train  crosses  the  Gotthard 
Reuss  and  enters  the  great  St.  Gotthard  Tunnel,  which  runs  nearly 
due  S.,  5-6000  ft.  below  the  highest  point  of  the  mountain.  The 
tunnel  is  16,309  yds.  or  about  9'/4  M.  in  length,  28  ft.  wide,  and 
21  ft.  high,  and  is  laid  with  a  double  line  of  rails.  Trains  take 
14-25  min.  to  pass  through  it.  —  Above  the  S.  end  of  the  tunnel, 
to  tlie  right,  are  some  new  fortifications. 

66  M.  Airolo  ( 3865 ft.),  in  the  upper  TicinoValley,  was  injured  by 
a  landslip  in  1898.  The  scenery  here  still  retains  an  Alpine  character. 

Beyond  Airolo  the  train  crosses  the  Ticino,  passes  through  the 
Stalvidro  Tunnel,  and  enters  the  Stretto  di  Stalvedro.  The  valley 
expands  near  (70  M.)  Ambri-Piotta  (3250  ft.).  —  Beyond  (73  M.) 
Rodi-  Fiesso  (3100  ft.)  the  Monte  Biottino  (Platifer)  projects  into 
the  valley  on  the  N.  The  Ticino  descends  the  gloomy  gorge  in  a 
series  of  waterfalls.  The  railway  crosses  the  gorge,  passes  through 
two  short  tunnels,  and  enters  the  Freggio  Spiral  Tunnel  (1  M.  in 
length),  from  which  we  emerge,  118  ft.  lower,  in  the  Piottino  Gorge. 
We  again  cross  the  Ticino  in  the  midst  of  the  grandest  scenery,  and 
then  thread  two  short  tunnels,  the  Prato  Spiral  Tunnel  (1  M.  long; 
118  ft.  of  descent),  and  another  short  tunnel,  beyond  which  we  enjoy 
a  view  of  the  beautiful  valley  of  Faido,  with  its  fine  chestnut-trees. 
Crossing  the  Ticino  and  going  through  another  tunnel,  we  reach  — 

78  M.  Faido  (2365  ft.),  the  capital  of  the  Leventina,  thoroughly 


8     Route  3.  BELLINZONA.  From  Lucerne 

Italian  in  character.  On  the  right  the  Piumogna  descends  in  a 
fine  waterfall.  —  The  train  now  follows  the  left  bank  of  the  Ticino, 
traversing  a  beautiful  district,  richly  wooded  with  walnut  and  chest- 
nut trees.  Cascades  descend  from  the  abrupt  cliffs  on  either  side, 
one  of  the  finest  being  the  fall  of  the  Cribiasca^  a  little  short  of 
(82  M.)  Lavorgo  (2030  ft.). 

Farther  on  the  Ticino  forces  its  way  through  the  Biaschina  Rav- 
ine to  a  lower  region  of  the  valley  and  forms  a  beautiful  waterfall. 
The  railway  descends  ou  the  left  bank  by  means  of  two  spiral  tun- 
nels, one  below  the  other  in  corkscrew  fashion  :  viz.  the  Fianotondo 
Tunnel  (9/,o  M,  long;  115  ft.  of  descent),  and  the  Travi  Tunnel 
(nearly  1  M,  long;  118ft.  of  descent). 

The  train  has  now  reached  the  lower  zone  of  the  Valle  Leventina, 
and  crosses  and  recrosses  the  Ticino  on  either  side  of  (87  M.)  Oior- 
nico  (1480  ft.).  —  91  M.  Bodio  (1090  ft.).  —  The  Brenno  descends 
from  the  Val  Blcnio  on  the  left  to  join  the  Ticino. 

94  M.  Biasca  (970  ft.),  with  an  old  Romanesque  church  on  a  hill. 
—  102  M.  Clara  (830  ft.),  at  the  foot  of  the  Pizzo  di  Claro  (8920  ft,). 
Beyond  (104  M.)  Castione  the  train  passes  the  mouth  of  the  Val 
Mesocco  (Bernardino  route)  and  crosses  the  Moesa.  The  train  then 
passes  through  a  tunnel  beyond  which  we  obtain  a  magnificent  view 
of  Bellinzona. 

106  M.  Bellinzona  (760  ft. ;  *Rail'way  Restaurant,  D.  incl.  wine 
31/2  fr. ;  Hot.  Suisse  et  Poste,  ^/^  M.  from  the  station,  R.  from  2, 
B.  11/4,  de'j.  21/2,  D.  4,  omn.  1/2  ft-;  Cervo,  R.  IV2-2V2,  B.  1  fr.; 
Hot.  International,  at  the  station,  R.  from  11/2^^-^)  ^^^  capital  of  the 
canton  of  Ticino,  a  thoroughly  Italian  town  with  5000  inhab.,  is  the 
junction  for  Locarno  (p.  191)  and  Luino  (p.  189).  Above  it  rise 
three  picturesque  castles  built  about  1445  by  Fil.  Maria  Visconti 
(p.  127):  the  Castello  San  Michele,  to  the  W.,  the  Castello  Monte- 
hello,  and  the  Castello  Corbario,  to  the  E. 

Ascent  of  the  Monte  Camoglii  from  Bellinzona  via  Giubiasco,  see  p.  14. 

The  railway  to  Lugano  and  Milan  passes  through  a  tunnel 
(300  yds.)  below  the  Castello  Montebello.  —  At  (108  M.)  Giu- 
biasco the  railways  to  the  Lago  Maggiore  (p.  191)  diverge  to  the 
right.  Our  line  approaches  the  foot  of  the  mountains,  and  ascends 
the  slopes  of  Monte  Ceneri  (4125  ft.).  Cadenazzo  (p.  191)  lies  below 
on  the  right.  Three  tunnels.  *View  of  the  Ticino  Valley  and  the 
N.  end  of  the  Lago  Maggiore,  improving  as  we  ascend.  The  train 
then  penetrates  the  Monte  Ceneri  (Hot.  du  Monte  Ceneri,  pens. 
6-9  fr.)  by  means  of  a  curved  tunnel  (1  M.  long),  1435  ft.  above  the 
sea-level.  At  the  S.  end  of  the  tunuel ,  in  a  sequestered  valley, 
lies  (116  M.)  Rivera-Bironico  (1420  ft.).  The  train  then  descends 
the  smiling  valley  of  the  Agno  to  (120  M.)  Taverne  (1130  ft.; 
p.  15).  —  Beyond  Lamone  (1033  ft.)  the  train  quits  the  Agno, 
threads  the  Massagno  Tunnel  (1135  ft,  above  the  sea),  and  reaches 
the  Lago  di  Lugano  (p.  182), 


OPograph  Anstalt 


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Wagner  A  Brtes   Leipiif 


to  Como.  LUGANO.  3.  Route.     9 

124  M.  Lugano.  —  The  Eailway  Station  (1110ft.;  PI.  C,  2;  "Restau- 
rant,  fl^j.  2V2>  D.  31/2  fr.;  view,  see  p.  12)  is  connected  with  the  town  by 
a  road,  a  shorter  footpath,  and  a  Cable  Teamway  (Funicolare),  at  the  S. 
end  of  the  station  (fares:  up  30  or  20  c.,  down  15  or  10  c. ;  lower  ter- 
minu*!  in  Via  Francesco  Soave,  behind  the  Piazza  della  Riforma).  —  The 
Steamboats  (to  Porto  Ccresio,  for  Varese  and  Milan,  see  RE  27,  28,  to 
Ponte  Tresa,  for  the  Lago  Maggiore,  and  to  Porlezza,  for  the  Lago  di 
Como,  see  p.  182;  to  Capolago,  on  the  Generoso  Railway,  see  p.  15)  have 
four  piers:  Vtigano  -  Centrale  (PI.  C,  3).  the  main  station,  on  the  Piazza 
Giardino  (two  landing-stage?),  Lugctno-Piazzn  Gtiglielmo  Tdl(V\.  C,  4;  near 
the  Grand  Hotel),  Lugano- Par adiso  (PI.  B.  6),  for  Paradiso  (p.  12)  and  the 
Mte.  San  Salvatore,  and  Lugano  Custagnola  (PI.  G,  4),  for  Cassarate  and 
Castagnola  (p.  13).  Only  the  main  station  is  touched  at  on  every  journey. 
—  Motor  Boats  between  Lugano  and  Paradiso  every  hour. 

Hotels  (in  spring  rooms  should  be  secured  in  advance).  The  chief  hotels 
send  omnibuses  to  meet  the  trains  and  steamers.  On  the  Lake:  "Grand 
Hotel  (PI.  a;  B,  C,  4),  Piazza  Guglielmo  Tell,  with  restaurant  and  garden 
(band  thrice  a  day),  R.  from  5,  B.  I'/z,  dej.  4,  D.  G.  omn.  IV2,  pens,  from 
12  fr. ;  'Grand  Hotel  Splendidb  (PI.  c;  E,  5),  Via  Antonio  Caccia,  on 
the  road  to  Paradiso,  with  small  garden  on  the  lake,  frequented  by  English 
and  Americans,  R.  5-10,  B.  l*/.',  dej.  4,  D.  5,  omn.  I'/s,  pens,  from  12  fr. ; 
Hot.  du  Parc-BeadsiiJour  (PI.  b;  B,  4),  with  garden,  R.  from  4,  B.  l'/2, 
dej.  4,  D.  5,  omn.  IV2,  pens,  from  10  fr.  —  °Hot.-Pens.  Bellevce  au  Lao 
(PI.  h;  A,  5),  Via  Antonio  Caccia,  R.  3-6,  B.  IV2,  dej.  3,  D.  4,  pens,  from 
71/2,  omn.  l'/2  fr. ;  Regina  Hotel  (formerly  Villa  Ceresio;  PI.  re;  C,  4), 
Piazza  Guglielmo  Tell,  R.  from  3,  B.  1'/^,  dt^j.  0V2,  D.  5,  pens,  from  8  fr., 
both  with  garden.  All  these  have  lifts  and  steam-heating.  —  Second  Class: 
•Hot.-Pens.  Lugano  (PI.  e;  C,  3),  on  the  quay,  with  a  restaurant  and 
small  garden,  R.  3-6,  B.  i'/z,  dej.  3,  D.  4,  pens.  7-12,  omn.  1  fr.,  Italian; 
Hot.  International  ac  Lac,  Piazza  Guglielmo  Tell,  with  lift  and  steam- 
heating,  R.  from  31/2,  B.  11/2,  dej.  3,  D.  3'/2  fr.  (opened  in  1906);  "Hot.- 
Peks.  Victoria,  Via  Antonio  Caccia,  with  small  garden,  R.  21/2-3V2,  B.  I1/4, 
dej.  21/2,  n.  3-3V2,  pens.  6V2-8V2,  omn.  1  fr. ;  'Hot.  Pfister  Belvedere 
(PI.  1 ;  C,  4),  Piazza  Guglielmo  Tell,  with  beer-restaurant  and  small  terrace 
on  the  lake,  R.  2V2-4,  B.  11/4,  D.  S'/v,  S.  21/2,  pens.  7-12  fr. ;  Hotel  Garni 
Walter  (PI.  p;  C,  3),  with  restaurant  (see  p.  10),  R.  2-4.  B.  I'/i  fr. ; 
Hot. -Restaurant  Americana,  Piazza  Giavdino,  R.  2-3,  B.  I1/4,  dej.  2V2, 
D.  3,  pens,  from  772  fr. ;  Beausite  Hot.  de  la  Fontaine,  Piazza  Kizziero 
Rezzonico  (PI.  C,  3),  R.  from  2,  B.  1,  dej.  2,  D.  2V2,  pens,  from  5  fr.,  both 
with  steam-heating,  for  passing  tourists. 

In  the  Town:  Hot.  Suisse  (PL  g;  D,  31,  Via  Canova,  R.  21/2-31/2,  B.  11/4, 
dej.  2'/2,  D.  3,  pens.  6-10,  omn.  ^/i  fr. ;  Hot.  Garni  Central,  Via  Canova, 
next  the  post-office,  with  cafe-restaurant,  I!.  21/2  fr. ;  Pension  Zweifel, 
Via  Cattedrale,  pens.  5  fr.  —  JVear  the  Station.  To  the  S.:  'Hot.  MStropolb 
&  Monopole  (PI.  x;  B,  4),  with  lift,  R.  4-9,  B.  I1/2,  dej.  31/2,  B.  5,  pens. 
9-18,  omn.  from  1  f r. ;  'Hot.  Bristol  (PI.  y;  B,  3,  4),  with  lift,  R.  4-8, 
B.  11/2,  dej.  312,  D.  5,  pens.  8-15  fr. ;  Hotel  St.  Gotthard -Terminus 
(PL  k;  C,  3),  R.  21/2-fi,  B.  11/2.  dej.  3-3i/2,  D.  4-41/2,  omn.  V4-IV2,  pens. 
7-12  fr.;  'Hot.-Pens.  Berna  et  Bella- Vista  (PI.  r;  C,  3),  R.  3-6,  B.  I'A, 
d^j.  3,  D.  4,  pens.  7-12  fr.,  all  four  with  steam-heating,  gardens,  and  fine 
view.  To  the  W.  behind  the  railwav  lines:  Hot.-Pens.  Beau-Regard  et 
Continental  (PL  i;  B,  3),  E.  from  3,'B.  I1/2,  dej.  31/2,  D.  41/2,  pens,  from 
8  fr.,  with  garden;  Pens.  Villa  Minerva,  with  garden,  pens.  Irom  7  fr. , 
very  fair;  Kohlers  Hotel  Garni,  with  restaurant,  R.  2-3,  B.  1,  D.  11/2-3, 
S.  11/2-21/2,  pens.  6-7  fr. ;  Hot.  Lucerne  (PL  z;  B,  2),  R.  I1/2-21/2.  B.  1  fr., 
plain.  To  the  N.  :  Hotel  Washington  (PL  d  ;  C,  1),  E.  from  21/2,  B.  I1/2, 
dt5j.  3,  D.  4,  pens,  from  7  omn.  1  fr.  ;  Hut.-Pens.  Seeger  (PL  o;  C,  2), 
Via  al  Cclle,  E.  21/2-5.  B.  V/i,  U.  31/2,  S.  21/2,  pens.  7-10  fr.  ;  Hotel-Pens. 
Erica  (PL  q ;  C,  2),  E.  2-4,  B.  I1/4,  D.  31/2,  S.  21/2,  pens.  6-9  fr. ;  Hot.- 
Pens.  Oberland,  at  Massagno  (PL  C,  1),  R.  11/2-21/2,  B.  1,  D.  21/2,  S.  2, 
pens.  5-7  fr.,  all  with  gardens.  Below  the  station,  to  the  E.:  Hotel  de 
LA  ViLLE  KT  Pens.  Bon-Air  (PL  s;  C,  2),  R.  2-3,  B.  11/4,  dej.  21/2,  D.  3-4, 


10 


Route  3.  LUGANO.  From  Lucerne 


omn.  1,  pens.  5-7  fr. ;  Hot.  de  la  Croix  Blanche,  I!.  1V2-2,  B.  IV4,  I>.  2«/2- 
3  fr. ;  Hotel  Milan  et  Tkois  Suisses  (PI.  t;  C,  2),  with  the  de'pendance 
H6t.  de  la  Gave,  R.  IV2-2V2,  B.  IV4,  D.  3,  S.  2V2,  pens.  6-7  fr.,  well  spoken 
of,  all  three  unpretending;  Pens.  Induni,  5-6  fr.  —  At  Loreto  (PI.  B,  4): 
Pens.  Lobeto,  high  up. 

At  Paradiso  (p.  12),  V*  ^^-  to  the  S.:  *Grand  Hotkl  de  l'Eorope  (PI.  v; 

A,  6),  R.  31/2-10,  B.  IV2,  dej.  31/2,  D.  5,  pens.  9-18.  omn.  lV2fr.,  Hot.  de  la 
Paix,  R.  from  31/2,  B.  IV2,  dcj.  31/2,  U.  5,  pens,  from  8  fr.  (opened  in  1906), 
*Hot.  Reichmann  au  Lac  (PI.  n;  B,  6),  a  new  building  with  two  de'pen- 
dances,  frequented  by  Germans,  R.  3-7,  B.  IV2,  D-  4,  S.  3,  pens.  8-14,  omn. 
from  1  fr.  (closed  from  the  middle  nf  Nov.  till  the  middle  of  Feb.), 
all  three  with  lifts  and  steam-heating;  "Hot.  Beau-Rivage  (PI.  ni;  A,  B,  6), 
with  steam-heating,  R.  3-6,  B.  IV2,  dej.  3,  D.  4,  pens.  71/2-I2,  omn.  from 
1  fr. ;  Hut. -Pens.  Villa  Won-Bi.iuu,  with  restaurant,  pens,  from  8  fr. ; 
Hot.  des  Anglais,  E.  from  3.  B.  l'/2,  dt^i.  3,  D.  5,  pens,  from  8  fr  ;  "'Hot.- 
Pens.  Villa  Carmen  (PI.  u;  B,  6),  R.  21/2-5,  B.  I1/2,  dej.  2i/2,D.  31/2,  pens. 
6-10,  omn.  1  fr. ;  Hot.  dd  Lac,  with  terrace  on  the  lake,  steam-heating, 
and  cafe-restaurant,  B.  from  21/2,  pens,  from  6  fr. ;  *'H6t.-Pens.  Sommer 
(Pl.  w;  A,  t.),  R.  from  31/2,  B.  li/z,  dej.  31/2,  D.  41/2,  pens,  frnm  81/2  fr.; 
Hot  -Pens.  B.«r,  with  steam-heating,  R.  2-4,  pens.  6-81/2  fr.,  "Hot. -Pens. 
Meister,  R.  21/2-4,  B.  11/4,  D.  31/2,  S.  21/2,  pens.  6V2-IO,  omn.  from  1  fr., 
Hot.  de  Zurich,  B.  from  2,  E.  11/4,  D.  3,  S.  21/2,  pens,  from  6  fr.,  Hot.- 
Pens.  Pakadiso  (PI.  p;  A,  6),  B.  2-3,  B.  1,  D.  3,  pens.  5-61/2  fr.,  all  four 
near  the  Salvatore  station;  Hot. -Pens.  Palmen,  pens.  51/2-7  fr. ;  Pens. 
Violetta;  Pkns.  Villa  Flora;  Pens.  Villa  Daheiji;  Pens.  Federico; 
Pens.  Rebek.  —  In  the  Via  Geretta  (PL  A,  5,  6):  Grand  Hot.  des  Etkangers 
et  do  Casino  (W.  B.  Voi/lf),  R.  from  3,  B.  I1/2,  ddj.  3,  D.  5,  pens,  from 
8  fr.  (opened  in  autumn  19()6);  Pens.    Gekber,  with  garden. 

In  Casmrate  (p.  13),  ^ji  M.  to  the  E.  of  Lugano:  *H6t.-Pens.  Villa 
Castagnola   (PI.    f;   G,   3|)  ,    with    steam -heating   and   garden,    R.   21/2-6, 

B.  11/2,  D.  33/4,  S.  2V4,  pens.  7-121/2,  omn.  I1/2  fr. ;  Pens.  Villa  du  Midi 
(PI.  G,  4,  5),  1/3  M.  farther  on,  near  the  steamboat-pier,  pens.  41/2-5  fr., 
very  fair.  —  In  Castagnola  (p.  13),  in  a  Punny,  sheltered  position  to  the 
S.:  Pens.  Villa  Moritz  (I'l.  mo;  H,  6),  with  steam-heating  and  restaurant 
(p.  13),  pens.  6-8  fr.  (closed  in  July  and  Augnsl),  very  fair;  Pens.  Livadia 
(PI.  li;  H,  5,  0))  from  6  fr. ;  Pens.  Villa  Helvetia,  from  5  fr.  —  On  the 
Via  Casiatisio  (p.  14),  to  the  N. :  Pens.  Villa  Staoffer,  41/2-71/2  fr. ;  Pens. 
Castausio.  —  In  Davesco  (p.  14):  Hot. -Pens.  Castello  di  Davesco  (1378  ft.), 
with  sanatorium  and  large  park,  R.  3-5,  B.  I1/4.  D.  4,  S.  3,   pens.  7-12  fr. 

Restaurants  at  the  'HOt-  Lugano  (p.  9);  Trattoria  Biaggi  (also  rooms 
and  board),  to  the  W.  of  the  Piazza  delta  Riforma,  on  the  way  to  the 
cable-railway,  Kalian.  —  In  Paradiso  (p.  12):  "Cafi-Reslauvanl  de  faris, 
with  terrace  on  the  lake  and  reading-room,  dej.  21/2,  B.  31/2  fr. 

Beer:  Walter,  see  p.  9  (Munich  beer),  D.  21/2  fr.,  much  frequented; 
^'BSl.  Pfister  Belvedere  (p.  9;  Munich  beer);  Saal,  Piaz7a  della  Riforma; 
Theatre  ReUaurant. 

Cafes.  Biriera ,  on  the  quay,  near  Hot.  Lugano ;  Jacchini ,  Centrale, 
both  in  the  Piazza  Giardino;  Continental,  Piazza  Guglielmo  Tell;  Caf^  de 
Paris  (.see  above),  U6t.  du  Lac  (fee  above).  Pens.  Villa  Flora  (see  above), 
all  three  in  Paradiso.  —  Confectioners:  Cafi'  Riviera  (see  above);  Forster, 
Via  Canova,  beside  the  post-office;  Pens.  Violetta  (see  above),  in  Paradiso. 

Lake  Baths  {Bagno  Puhblico;  PI.  B,  5),  on  the  Paradiso  road  (open 
June-Sept.;  bath  20c.,  box  60  c,  dress  and  towels  20  c).    Warm  Baths  at 

Post  &  Telegraph  Office,  Via  Canova  (PI.  D,  3),  in  Puradiso  (PI.  B,  6), 
Cassarate,  and  Castagnola. —  Physicians,  Dr.  Cornelis,  Dr.Reali,  Dr.  Zbinden, 
Dr.  Michel,  Dr.  Ferri.  —  Dentist,  Ed.  Winzeler.  —  Bookseller  (also  photo- 
graphs), Arnold.  Piazza  Giardino.  —  English  Goods  (groceries,  tea-room,  etc.) : 
The  British  Trading  Company,  Piazza  del  Commercio. 

Moneychangers:  Banca  della  Svizzera  Italiana,  Piazza  Giardino;  Banca 
Canton'de  Ticinese,  Banca  Popolare,  both  in  the  Piazza  della  Kiforma-  — 
Tourist  Agency  (also  sleeping-car  agency)  in  the  kiosque  on  the  Piazza 
Guglielmo  Tell  (closed  in  winter). 


to  Como.  LUGANO.  3.  Route.     11 

Theatre.  Te.atro  Apollo  (P!.  D,  3),  Quay  Giocondo  AlbertoUi;  opei-as 
and  dramas  occasionally  in  winter,  in  the  tourist- season  concerts  thrice 
daily  and  variety-iieil'ormances  in  the  evening. 

Electric  Tramways  (10  c.)  from  the  Piazza  Giardino  everv  20  min.  to  (S.) 
Paradiso  (PI.  E.  G),  or  the  Salvatore  Station  (PI.  A,  6),  (E.)  Casiarate  (PI.  G.  4), 
and  (N.)  MoUtio  Nuovo  (PI.  K,  1). 

Carriage  in  the  town  incl.  Paradiso  and  Cassarate,  with  one  horse) 
1-2  pers.  i'/zj  3  pers.  2,  with  two  horses,  1-2  pars.  2^/4  fr.,  each  addit.  pers- 
75  c.  more;  per  hour,  with  one  hor.se  3,  with  two  horses  6  fr.,  for  a  drive 
of  more  than  2  hrs.  each  addit.  V4  hr.  1/2  and  1  fr.  more.  Small  articles 
of  luggage  free ;  trunk  50  c.  —  To  Casiagnola  and  back  3,  4,  or  6  fr. ;  to 
Montagnola  and  back  7,  8,  or  14  fr. ;  to  Agra  and  back  8,  9,  or  15  fr.  -,  to 
Corona  and  back  12,  14,  or  20  fr. ;  to  Somico  and  back  9,  10,  or  16  fr.  — 
Drive  round  the  Mte.  San  Salvatore  (p.  13)  via  Pambio,  Figino,  Morcote, 
and  Melide  (21/2  hrs.),  one-horse  carr.  8  or  9,  two-horse  15  fr. ;  to  Comano 
via  Porza,  returning  via  Canobbio  ('Giro  del  Piccolo  San  Bernardo'),  7,  8, 
or  12  fr. ;  to  Tesserete  and  Ponte  Capriasca  ('Giro  del  Gran  San  Bernardo'), 
9,  10,  or  18  fr. 

Diligence  (announcements  at  the  post-office)  several  times  daily  to 
Agra,  Carona,  Tesserete,  Sonvico,  JIaglio  di  Colla,  Xovaggio,  Sessa,  etc.  — 
Motor-Omnibus  to  Ponte  Tresa  (p.  18i). 

Rowing  Boat  with  one  rower  2  fr.  (1-2  pers.  1^/4  fr.),  with  two  rowers 
3  fr.  for  the  first  hour,  each  addit.  1/2  t""-  V<  (V2)  '^^  1  fr.,  with  gratuity  of 
10«/n;  to  Caprino  or  CavaUino,  with  1  hr's.  stay,  6  fr.  (1-2  pers.  41/4  fr.)-  — 
Motor  Boat,  5  fr.  per  hour.  —  Sailing  Boat,  SV*  fr.  for  the  first  hour, 
each  addit.  1/2  hr.  i'/z  fr. 

English  Church  (St.  Edward's;  PI.  B,  4),  Via  Geretta;  services  at  10.30, 
11.30,  and  3.30;  chaplain  Rev.  Jas.  Payne,  Hotel  Bristol. 

Lugano  (905  ft.) ,  the  largest  and  busiest  town  in  the  Swiss 
canton  of  Ticino,  with  9400  inhab.,  is  charmingly  situated  on  the 
lake  of  the  same  name,  and  is  a  very  pleasant  place  for  a  lengthened 
stay,  especially  as  a  transition -stage  on  the  way  farther  south. 
The  winter  temperature  is  somewhat  higher  than  that  of  Montreux 
or  Meran ;  the  heat  of  summer  is  seldom  excessive ;  while  in  spring 
and  autumn  N.  winds  prevail,  from  which,  however,  Castagnola 
(p.  13)  is  somewhat  protected.  The  environs  possess  all  the  charms 
of  Italian  mountain-scenery;  numerous  villages,  churches,  chapels, 
and  country-seats  are  scattered  along  the  banks  of  the  lake ,  and 
the  lower  hills  are  covered  vsith  vineyards  and  gardens,  contrasting 
beautifully  with  the  dark  foliage  of  the  chestnuts  and  walnuts  in 
the  background.  To  the  S.,  immediately  above  the  town,  rises  the 
Monte  San  Salvatore  (p.  13),  wooded  to  its  summit;  to  the  E., 
across  the  lake,  is  the  Monte  Caprino,  to  the  right  is  the  Monte 
Generoso  (p.  16),  to  the  left  are  the  Monte  Bre  fp.  13)  and  the 
beautiful  Monte  Boglia  (p.  14).  On  the  N.  opens  the  broad  valley 
of  the  Cassarate,  backed  by  a  group  of  mountains  among  which  the 
double  peak  of  Monte  Camoghe  (p.  14)  and  the  rugged  Sasso  Grande 
(4880  ft.)  are  conspicuous. 

Near  the  steamboat- pier  of  Lugano-Centrale  lies  the  Piazza 
Giardino  (PI.  G,  D,  3),  an  open  space  beautified  by  pleasure 
grounds  and  a  fountain.  On  its  "W.  side  rises  the  imposing  Palazzo 
Civico  (PI.  C,  3),  erected  in  1844,  with  a  beautiful  colonnaded  court. 
—  A  broad  Quay,  planted  with  trees  and  much  frequented  as  an 


12     Route  3.  LUGANO.  From  Lucerne 

evening-promenade,  stretches,  under  various  names,  along  tlae  lake. 
At  its  E.  end  are  the  Theatre  (p.  11),  and  the  ViUa  Ciani  (Pl.D,  E,  3) 
with  a  shady  park  and  a  marble  statue  of  a  mourning  woman  ('La 
Desolazione')  by  Vincenzo  Vela  (entr.  from  Piazza  dell'  Indipen- 
(lenza  78 ;  '/2-I  fr.  to  the  gardener).  —  In  the  Piazza  Guglielmo  Tell 
(PI.  C,  4),  at  the  S.W.  end  of  the  Quai  Vincenzo  Vela,  is  a  small 
Fountain  Statue  of  Tell,  by  Vela  (1852). 

The  old  conventual  church  of  Santa  Maria  dkgli  Angioli 
(PI.  C,  4),  adjoining  the  Grand  Hotel,  contains  some  good  frescoes 
by  Bernardino  Luini. 

The  badly  lighted  painting  on  the  wall  of  the  screen  (1529),  one  of  the 
largest  ever  executed  by  Luini,  represents  the  "Passion  of  Christ,  and  con- 
tains several  hundred  figures,  arranged  according  to  the  antiquated  style 
in  two  rows.  In  the  foreground,  occupying  the  upper  part  of  the  wall, 
stand  three  huge  crosses ,  at  the  foot  of  which  we  perceive  Roman  war- 
riors, the  groups  of  the  holy  women,  and  St.  John,  and  the  executioners 
casting  lots  for  the  garments.  Above,  on  a  diminished  scale,  from  left  to 
right,  are  Christ  on  the  Mount  of  Olives,  Christ  taken  prisoner,  the 
Mocking  of  Christ,  the  Bearing  of  the  Cross,  the  Entombment,  Thomas's  Un- 
belief, and  the  Ascension,  all  immediately  adjacent.  Although  the  style  of 
the  composition  strikes  one  as  old-fashioned,  the  eye  cannot  fail  to  be 
gratified  by  the  numerous  beautiful  details.  The  St.  Sebastian  and  St.  Rochus, 
below,  between  the  arches,  are  particularly  fine.  —  To  the  left,  on  the 
wall  of  the  church,  is  the  Last  Slipper,  and  in  the  1st  Chapel  on  the  right 
is  a  fine  Madonna,  two  paintings  by  Luini.  The  sacristan  expects  a  small 
fee  (26-30  c). 

The  old  part  of  the  town,  with  its  arcades,  its  shops  and  work- 
shops in  the  open  air,  and  the  granite  wheel-tracks  in  the  streets,  is 
quite  Italian  in  its  character.  —  San  Lorenzo  (PI.  C,  2),  the  principal 
church,  on  a  height  below  the  station,  built  at  the  close  of  the 
15th  cent.,  has  a  tastefully  enriched  marble  fa(;ade  in  the  early- 
Renaissance  style,  probably  by  Tommaso  Rodari  (1517).  —  The 
terrace  in  front  of  the  station  and  the  Torre  Enderlin  (PI.  B,  3),  the 
view-tower  of  the  former  villa  of  that  name,  above  the  Via  Geretta, 
command  an  admirable  *View  of  the  town  and  the  lake. 

There  are  various  pleasant  Walks,  well  provided  with  guide- 
posts  and  benches.  To  the  S.,  on  the  highroad  through  the  suburb 
of  Paradiso  (PI.  A,  B,  6),  and  along  the  foot  of  Mte.  Salvatore,  to  the 
(11/2  M.)  headland  of  San  Martino  (to  Melide,  IV2  M-  farther,  see 
p.  15).  Just  before  reaching  San  Martino,  V2  ^-  beyond  the  terminus 
of  the  tramway  (p.  11),  a  foot-path  with  steps  leads  to  the  right  to 
(5  min.)  the  Belvedere  di  Guidino  (1050  ft.)  which  commands  an- 
other fine  view.  —  To  the  W.  the  shadeless  Ponte  Tresa  road  (PI.  A, 
B,  4,  5;  p.  184)  winds  up  to  the  (II/2  M.)  top  of  the  Colline  d'Oro, 
on  which  lies  the  frequented  Restaurant  du  Jardin  (also  pension). 
The  village  of  Sorengo  (1325  ft.;  Pens,  de  la  Colline  d'Or)  is  reach- 
ed by  a  pretty  footpath  (Viottolo  P.oncaccio),  5  min.  to  the  right  of 
the  station,  and  then  by  a  pergola-walk  in  20  min. ;  fine  view  of 
the  Lake  of  Muzzano  from  behind  the  church  and  from  the  steps  of 
the  adjoining  school.  A  *Carriage-road  leads  from  the  Restaurant 
du  Jardin,  to  the  left,  via  (1  M.)  OentiUno  (1283  ft.),  to  the  con- 


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to  Como.  LUGANO.  3.  Route.     13 

spicuous  church  of  Sunt'  Abbondio  (1345  ft. ;  in  the  graveyard  several 
monuments  by  Vela),  and  thence  via  Certenago  (1417  ft.)  to  (1  M.) 
Montagnola  (1548  it.  ;  Hot.  Rellevue,  plain  but  good);  from  the 
Roccolo  Somazzi,  *  o  M-  above  the  village,  we  obtain  a  view  of  the 
W.  arm  of  the  lake  and  of  the  Monte  Kosa  group  (Itey  at  the  Oasa 
Somazzi  below ;  50  c.  to  the  attendant).  The  walk  may  be  pleasantly 
extended  via  Blijoiina  to  (^j^  hr.)  A(jra  (1835  ft. ;  diligence  see  p.  11), 
on  the  W.  side  of  which  a  shady  wood-path  ('Circolo  del  Monte') 
leads  round  Monte  Croce  (2152  ft.).  From  Gentilino  we  take  the 
direct  route  to  the  N.E.  back  to  Lugano,  via  Montalbano  (PI.  A,  5). 
—  To  the  E.,  from  the  Piazza  dell'  Indipendenza  (PL  D,  3;  p.  12), 
we  may  follow  the  Via  Carlo  Cattaneo,  which  crosses  the  (I/4  M.) 
Cassarate,  to  (8/4  M.)  Cassarate  (PI.  G,  3 ;  electric  tramway,  p.  11),  and 
thence  ascend  gradually  by  the  sunny  highroad  skirting  the  foot  of 
the  Mte.  Bre  to  (3/4  M.J  Cnstagnola  (1080  ft.;  good  restaurant  in  the 
Villa  Moritz,  p.  10),  which  commands  a  fine  view  of  the  central  arm 
of  the  lake.  From  Castagnola  a  hilly  foot-path  leads  thence  along 
the  lake  to  (3  M.)  Gandria  (steamboat  station,  see  p.  183). 

The  most  interesting  excur.-^ion  is  the  'Ascent  of  the  Monte  San  Sal- 
VATOBE,  by  cable-railway  (1800  yds.  long),  from  Paradise  in  V2  hr.  (fare 
3,  down  2,  return-ticket  4,  Sun.  and  holidays  2  fr.,  incl.  R.,  S.,  &  B.  10  fr.). 
The  lower  station  (PI.  A,  6;  920  ft.;  Restaurant,  dej.  3,  D.  4  fr.)  lies  at  the 
terminus  of  the  electric  tramway  (p.  11),  •/*  M.  from  the  steamboat- pier 
Lugano- Paradiso.  —  The  railway,  with  an  initial  gradient  of  17:  100, 
crosses  the  St.  Gotthard  Railway,  traverses  a  viaduct  (110  yds.  long; 
gradient  38: 100)  and  reaches  the  halfway  station  of  Pazzallo  (1625  ft  )  where 
carriages  are  changed.  The  line  now  ascends  over  dolomite  rock,  at  an 
increasing  gradient  (finally  60 :  100),  to  the  terminus  (2895  ft. ;  Hotel  Kulm), 
which  lies  7  min.  below  the  summit  (Vetta)  of  the  Monte  San  Salvatore 
(3(X)0  ft.),  on  which  there  is  a  pilgrimage-chapel.  The  *View  embraces  all 
the  arms  of  the  Lake  of  Lugano,  the  mountains  and  their  wooded  slopes, 
especially  those  above  Lugano,  sprinkled  with  numerous  villas.  To  the  E. 
above  Porlezza  is  Monte  Legnone  (p.  ISO) ;  N.  above  Lugano  the  double 
peak  of  Monte  Camoghe  (p.  14),  to  the  left  of  this  the  distant  Rheinwald 
mountains;  W.  the  chain  of  Monte  Rosa,  with  the  Matterhorn  and  other 
Alps  of  the  Valais.  This  view  is  seen  to  best  advantage  in  the  morning 
(panorama  by  Imfeld).  —  Walkers  (from  Lugano  to  the  top  2  hrs.)  pass 
under  the  Gotthard  line  and  follow  the  road  via  Calprino  to  (1V2  5I.)  Pazzallo 
(1398  ft.).  Here  they  t;ike  one  of  the  passages  marked  'Al  Moute\  and 
then  ascend  by  a  stony  footpath,  crossing  the  funicular  railway,  to  the 
(IV2  hr.)  top.  For  the  descent  they  should  select  the  path  to  (V4  hr.)  Ciona 
(20G5  ft.),  where  they  reach  the  fine  road  leading  from  Pazzallo  to  (i  hr.) 
Carona  (1975  ft.;  quaint  old  church).  From  Carona  a  zigzag  path  descends 
to  the  E.  to  Melide  (p.  15). 

Excursions  may  be  made  also  to  Caprino  and  Cacallino  (steamer  once 
daily  in  summer;  motor-boat  on  Sun..  20  c;  rowing-boat,  see  p.  11)  and 
to  Campione  (steamboat-pier,  see  p.  181),  all  on  the  E.  bank  of  the  central 
arm  of  the  lake.  The  wine-cellars  (Cantine)  in  the  rocky  grottoes  at  the 
foot  of  the  Monte  Caprino  are  much  frequented  on  Sun.  and  holidays  (Asti, 
l'/2  fr.  per  bottle).  These  cellars  are  closed  at  sunset  and  in  winter  they 
are  open  on  3Ion.  and  Frid.  only.  The  garden-restaurant  at  Cavallino  or 
Molino,  to  the  S.  of  the  Cantine,  is  another  popular  resort.  Close  by  is  a 
pretty  waterfall.  —  A  picturesque  but  somewhat  fatiguing  fdotpath  leads 
from  Caprino  and  Cavallino  via  the  high-lying  village  of  Pugerna  (line  view 
of  Lugano)  to  (I'/i  hr.)  Campione  (p.  184),  whence  we  may  proceed  via  (1  M.) 
Bissone  (pp.  15,   184)  and  the  cnibauknient  to  Afelule  (p.  lo). 


14     Route  3.  LUGANO.  From  Lucerne 

The  ascent  of  'Monte  Bre  (3050  ft.),  to  the  E.  of  Lugano,  is  another  easy 
excursion  (up  2-2V2  hrs.,  down  IV2  Jir. ;  guide  needless;  mule  10  fr.). 
We  take  the  electric  tramway  to  Cassarate  (p.  J3),  whence  a  road  leads 
to  (V'l  '''•)  Castagnola  (p.  13)  and  proceeds  thence  in  curves  via  Ruvi- 
gliana  (1555  ft.)  to  (V4-I  ir.)  Aldesayo  (1950  ft.),  the  highest  village  vi,3ible 
from  Lugano  on  the  W.  mountain-slope.  Aldesago  may  be  reached  also  in 
IV2  hr.  from  Cas''arate  via  Viganello  (I'l.  H,  1)  and  Albonago  (1525  ft.).  Above 
Aldesago  the  path  divides:  both  branches  lead  round  to  the  0/^^/i  hr.) 
village  of  Br^  (2590  ft.;  restaurant),  at  the  back  of  the  hill.  From  the 
church  of  Bre  we  ascend  by  a  narrow  path  to  the  summit  of  the  mountain 
in  1/2  l*'-,  either  traversing  the  highest  crest  of  the  hill  to  the  right,  or 
crossing  the  spur  to  the  left,  in  the  direction  of  Lugano.  The  view  of  the 
different  arms  of  the  Lake  of  Lugano,  especiallj'  in  the  direction  of  Por- 
lezza,  and  the  surrounding  mountains,  is  very  fine.  Lugano  itself  is  not 
visible  from  the  summit,  but  from  the  above-mentioned  spur  a  good  view 
of  it  may  be  obtained. 

*  Monte  Boglia  (4960  ft. ;  4-4V2  hrs. ;  guide  desirable).  Ascent  via  So- 
ragno  and  the  Alp  Bolla,  or  from  {P/i  hr.)  Bri  (see  above;  more  difficult) 
in  2V2  hrs.  The  view  is  less  extensive  but  more  picturesque  than  that 
from  Mte.  Generoso  (p.  16).  Descent  on  the  E.  side  through  the  grassy 
Vttl  Solda  to  Castello  and  San  Mamette  or  Oria  (steamboat-stations;  p.  183). 

The  new  road  to  the  Cassarate  Valley  diverges  to  the  right,  under  the 
name  of  Via  Sassa  (PI.  C,  1),  1),  from  the  Bellinzona  road  at  Massagno, 
and  i/«  31.  farther  on  is  joined  by  a  short  branch-road  (Via  Castausio)  from 
the  Molino  Nuovo  (tramway,  p.  11).  The  old  road  in  the  valley,  the  Via 
Trevano,  leads  past  the  chateau  of  Trevano,  the  property  of  Mr.  Louis 
Lombard  of  New  York,  sumptuously  fitted  up,  with  a  lieautiful  park  nearly 
80  acres  in  extent  (visitors  to  the  park  and  hot-hou-es  admitted  on  presenting 
their  cards).  These  two  roads  unite  at  (274  M.)  Canobbio  (1295  ft  ),  beyond 
which  the  high-road  proceeds  via  (3  M.)  Tesserete  (1745  ft.;  Ristorante  An- 
tonini,  Banfl,  etc.,  pens.  4-5  fr. ;  diligence,  p.  11)  to  (LVi  M.)  Bigorio  (see 
below).  Another  road,  diverging  to  the  right  from  the  Via  Trevano  a  little 
short  of  Trevano,  leads  via  Davesco  (Hot.  Castello  di  Davesco,  p.  10)  and 
Cadro  (1560  ft.)  to  Sonvico  (1965  ft. ;  Posta,  pens.  4  fr. ;  diligence,  p.  11),  a 
charmingly  situated  village  with  a  view  of  the  lake  and  town  of  Lugano, 
recently  frequented  as  a  summer-resort.  —  From  Tesserete  a  road  runs  to 
the  N.E.  into  the  Val  di  CoUa,  or  upper  Cassarate  valley,  leading  via  Bidogno 
to  (6'/2  M.)  Scareglia,  or  Moglio  di  Colla  (3205  ft. ;  Ristor.  Cereso,  pens.  4  fr. ; 
diligence,  p.  11),  which  may  be  reached  also  from  Sonvico  in  IV2  hr.  via 
the  Monte  Fetrole  and  Piandera. 

Monte  Camoghe  (7300  ft.),  commanding  a  striking  panorama  of  the  Alps 
from  Mte.  Rosa  to  the  Ortler,  is  ascended  from  Scareglia  in  4'/2  hrs.,  with 
guide :  via  Colla  and  the  Alp  Pietrarossa,  leaving  the  Monte  Garzirola  (see 
below)  to  the  left,  to  the  (3  hrs.)  Alp  Sertena^  (5920  ft.)  and  the  (l'/2  hr.)  top. 
—  The 'descent  may  be  made  to  theN.,  via  the  alps  of  Rivolte  ajii  Leveno 
and  through  the  Val  Morobbia,  to  Giubiasco  and  (5  hrs.)  Bellinzona  (p.  8).  — 
The  ascent  of  Monte  Oarzirola  (6940  ft.),  accomplished  from  Colla  in  3  hrs., 
is  also  recommended.  —  Pedestrians  will  find  it  to  their  account  to  return 
from  the  Val  Colla  to  Porlezza  over  the  Pass  of  San  Lucio  (5960  ft),  or  to 
the  Val  Solda  (p.  183),  either  by  the  Cima  di  Foiorma  (5935  ft.;  views)  or  past 
the  remarkable  dolomitic  peaks  of  the  Denii  di  Vecchia. 

Various  pleasant  excursions  may  be  made  in  the  fertile  uplands  be- 
tween the  vallevs  of  the  Cassarate  and  the  Agno.  Field-paths  lead  from 
Massagno  (PI.  B,'C,  1)  to  the  N.  via  Borello  (1400  ft.)  and  Savosa  (1435  ft.),  or 
from  the  Via  Sassa  (see  above),  immediately  beyond  the  first  fork  direct  via 
Porza  (1595  ft.)  and  Comano  (1660  ft.),  to  the'(lV2hr.)  church  of  San  Bernardo 
(2310  ft.),  situated  on  a  rocky  plateau,  and  commanding  a  picturesque  view. 
Thence  (at  first  following  the  top  of  the  hill  to  the  N. ;  no  path)  via  (IV4  hr.) 
Sola  and  the  (1/2  hr.)  village  of  Bigorio  (2360  ft.)  to  the  (20  min.)  monastery 
of  Bigorio  (2360  ft.),  charmingly  situated.  A  delightful  walk  may  be  taken 
hence,  through  chestnut-woods  and  over  pastures,  to  (IV4  hr.)  the  top  of 
Mte.  Bigorio  (3615  ft.).     From  Bigorio  we  may  return  either  direct  or  via 


to  Como.  CAPOLAGO.  3.  Route.    15 

Sala  and  (20  niin  J  Ponte  Capriasca  (1427  ft.),  with  a  church  containing  a 
good  old  copy  of  Leonardo  da  Vinci's  Last  Supper  (best  light  U-J),  to 
(i/a  hr.)  the  railway-station  of  Taverne  (p.  8j,  14  min.  by  rail  or  I'/a  hr.  on 
foot  from  Lugano. 

Honte  Tamaro  (6430  ft.;  5hrs.;  guide)  horn  UiveraBironico  (p.  8),  via, 
the  Alp  Foppa  (1(''30  ft.),  not  difficult.  Splendid  view  of  Lago  Maggiore, 
the  lake  of  Lugano,  Milan,  etc. 

A  pleasant  excursion  may  be  made  in  a  light  mountain-carriage 
(16-17  fr.)  via  Bioggio  (1053  ft.)  to  (2  hrs.)  Cademario  (2407  ft.),  whence  the 
carriage  is  sent  to  Agno.  From  Cademario  we  ascend  on  foot  to  (2"  min.) 
San  Bernardo  (2955  ft.;  beautiful  view  of  Lago  Maggiore,  etc.).  We  next 
proceed  to  the  Aranno-Iseo  road  and  follow  it  to  the  left  to  Ueo  (1254  ft.), 
Cimo,  Vemote^  and  (2  hrs.)  Agno  (p.  1S4),  where  we  rejoin  the  carriage.  The 
chapel  of  Santa  Maria  (2560  ft. ;  line  view)  lies  near  the  road,  between  Iseo 
and  Cimo.  —  In  (he  valley  of  the  Magliasina  (the  so-called  ilalcantone),  still 
farther  to  the  W.  (8M.  from  Lugano;  diligence  via  Agno,  MaiiUaso,  audPura, 
see  p.  11),  lies  Novaggio  (21U0  ft.;  "Hot.- Pens.  Beau-fjonr;  H6t.  Lema;  Pens. 
Novaggio,  very  fair),  a  summer-resort  in  a  pretty  mountain-landscape,  in 
view  of  the  Lago  Maggiore.  Novaggio  is  the  starting-point  for  the  ascent 
of  the  Monte  Lema  (5320  ft.;  272  hrs.,  with  guide),  which  commands  a  fine 
view.  The  road  proceeds  to  theW.  to  the  village  oi  Astano  (21(X)ft.;  Posta), 
another  summer  -  resort ,  whence  we  may  descend  via  Sessa  (1285  ft.; 
diligence,  p.  11)  to  Ponte  Tresa  (p.   18i). 

Excursion  to  the  Monte  Generoso,  see  belov? ;  to  the  Hotel  Belvedere 
(Lanzo  d  Intel vi),  see  p.  183;  to  the  Orotic  of  Osteno,  see  p.  183. 


Beyond  Lugano  tie  St.  Gottjiard  Railway  crosses  the  Tassino 
Valley,  by  means  of  a  viaduct,  130  ft.  high  (charming  view  of  Lugano 
to  the  left),  skirts  the  Monte  San  Salvatore,  and  passes  under  its 
N.E.  spur.  It  then  skirts  the  W.  bank  of  the  lake  via  the  village 
of  (128  M.)  Melhle  (Pens.  Valentiiii,  with  restaurant;  Gaffe-Risto- 
raute  Lugano,  Ristorante  del  Battello,  both  plain),  2  M.  beyond  the 
headland  of  San  Martino  ( p.  12).  The  train  and  the  road  then  cross 
the  lake  to  Bissone  (p.  184)  by  a  stone  viaduct  ^/o  M.  long  (views). 

—  130  xM.  Maroggia  (Hot.-Restaurant  Val  Mara,  R.'l 72-2 fr.,  B.  80  c), 
at  the  W.  base  of  the  Mte.  Generoso. 

I82V2  M-  Capolago  (Hot.-Pens.  du  Lac,  with  garden,  R.  2,  pens. 
G-9  fr. ;  Hot.  Suhse,  well  spoken  of;  Alb.  d' Italia.  R.  IY2,  ^-  1  f^-  i 
Riill.  Realaurant),  at  the  head  of  the  S.E.  arm  of  the  lake,  near  the 
mouth  of  the  Laveggio,  is  the  station  for  the  Generoso  Railway 
(steamboat  from  Lugano  4  times  a  day  in  summer,  in  1-1 V2  hr.). 

Fkom  Capolago  to  the  Monte  Generoso,  rack-and-pinion  railway 
(from  April  to  Oct.  only)  in  !>/*  hr. ,  to  Bellavista  (Hot.  Generoso)  in 
54  minutes.  Return-fare  to  the  top  10  fr.  (Sun.  6  fr.),  from  Lugano  11  fr.  75  c. 
(Sun.  8  fr.  75  c);  return-ticket,  incl.  R.,  D.,  &.  B.  in  the  Hot.  Kulm,  IS  fr. 

—  The  trains  start  from  the  steamboat-pier  at  Capolago  and  halt  at  (2  min.) 
the  )S7.  Gotthard  liailwaij  Station.  The  train  crosses  the  road  and  the  St. 
Gotthard  railway  and  ascends  the  slope  of  the  Ueneroso  (gradient  20:100, 
afterwards  22:  lOO),  with  a  continuous  open  view,  on  the  right,  of  the  Val 
di  Laveggio,  girt  with  wooded  hills,  of  the  little  town  of  Mendrisio,  and, 
I'ehind,  of  the  Lake  of  Lugano.  Then  it  skirts  abrupt  cliffs  and  enters 
a  curved  tunnel  (155  yds.  long),  immediately  before  which  the  summit  of 
Monte  Kosa  is  visible.  —  I5/4  M.  San  Nicolao  (2300  ft.),  a  station  in  the  finely 
wooded  ]'al  di  Sohirino.  The  line  next  describes  a  wide  curve,  enters  a 
tunnel  60  yds.  long,  and  proceeds  high  up  on  the  mountain-slope,  with 
tine  views  of  the  plain  of  I.ombardy  as  far  as  Milan  and  Varese. 


16     Route  3.  MONTE  GENEROSO. 

3J/2M.  Bellavista  (4C05  ft. ;  Hot.  des  Alpes,  R.  from  272,  B.  11/4,  dej.  3, 
D.  4,  pens.  7-10  fr.).  A  path  leads  from  the  station  along  the  mountain- 
ridge  to  the  (5  min.)  *Perron,  a  platform  provided  with  railings,  imme- 
diately above  Capolago,  with  a  beautiful  view  (best  in  the  morning)  of 
the  Lake  of  Ijugano  and  the  surrounding  heights,  backed  by  the  line  of 
snow-peaks  stretching  from  the  Gran  Paradise  to  the  St.  Gotthard.  About 
V'i  M.  to  the  E.  of  the  station  (tr;imvv;iy;  hotel-porter  meets  the  trains)  is 
the  '■Hotel  Monte  Generoso  (391)0  It.;  1!.  4-5,  B.  11/2,  dtj.  31/2,  1>.  5,  pens. 
9-13  fr. ;  post  and  telegraph  office;  Engl.  Church  Service),  situated  on  a 
mountain-terrace  commanding  a  view  over  the  plain  of  Lombardy  as  far 
as  the  Monte  Viso.  The  hotel,  open  from  May  1st  to  Oct.  15th,  is  frequented 
in  summer  mainly  by  Italians,  at  other  seasons  by  English  and  Americans. 
A  bridle-path  leads  hence  to  the  summit  in  I1/4  hr. 

Beyond  Bellavista  the  railway  ascends  through  another  tunnel  (90  yds. 
long),  and  closely  skirts  the  barren  ridge,  affording  occasional  views  to 
the  left  of  the  lake  and  town  of  Lugano,  and  to  the  right,  below,  of  the 
villages  of  Muggio  and  Cabbio.  Beyond  two  short  tunnels  we  reach  the 
station  of  (51/2  M.)  Vetta  (5295  ft. ;  imel  Kulm,  E.  3-5,  B.  IV2,  d^j.  31/2-4, 
D.  5,  pens.  8-13  fr.,  connected  by  view-terraces  with  the  Restaurant  Vetta; 
adjacent,  Albergo - Ristorante  Clericetti ^  plain,  R.  from  IV2,  D.  with  wine 
3  fr.).  A  good  path  leads  hence  in  20  min.  to  the  summit  of  'Monte  Generoso 
(5590  ft.).  The  view,  no  less  striking  than  picturesque,  embraces  the 
lakes  of  Lugano,  Como,  Varese,  and  Lago  Maggiore,  the  entire  Alpine 
chain  from  the  Monte  Viso  to  the  Como  dei  Tre  Signori,  and  to  the  S. 
the  plain  of  Lombardy,  watered  by  the  Po  and  backed  by  the  Apennines, 
with  the  towns  of  Milan,  Lodi,  Crema,  and  Cremona  (best  in  the  morning). 
—  From  the  station  of  Vetta  we  may  descend  on  foot  to  the  Hotel  Gene- 
roso or  to  Bellavista  station  in  3/4  hr. 

Monte  Generoso  may  also  be  ascended  from  Rovio  (1665  ft. ;  "Hot. -Pens. 
Mte.  Generoso,  K.  1-2,  D.  21/2,  S.  I1/2,  board  5  fr.  ;  3  M.  from  Maroggia 
station  by  road,  ca.  2  M.  by  footpath),  in  31/2-4  hrs.,  by  a  marked  path, 
well-shaded  in  the  morning;  or  from  Mendrisio  (see  below)  via  San  lYicolao, 
in  31/2-4  hrs.,  or  via  Muggio.  The  last  named  route  (diligence  daily  in 
21/4  hrs.)  ascend.s  the  V<(1  di  Mvggio  via  Castel  San  Pielro,  Monte,  and  Casima 
to  {5^/'iM.)  Mtiggio  (2185  ft.;  inns),  whence  the  summit  is  reached  in  3  hrs. 
by  a  bridle-path.  From  Lanzo  d'Jntelvi  (41/2  hrs.),  see  p.  183;  recommended 
for  the  return  (guide  advisable  for  inexperienced  climbers). 

135  M.  Mendrisio  (1180  ft.;  Alhergo  del  Gottardo,  at  the  station  ; 
Angela,  a  good  Italian  house,  R.  2'/2  fr-))  ^  small  town  of  3400  in- 
hab.,  1/2  M.  from  the  station,  lies  at  the  beginning  of  the  bridle- 
path to  the  Monte  Generoso  (to  the  Hot.  Generoso  3  hrs. ;  mule  6  fr.). 
At  Ligornetto,  IY2  M.  to  the  W.,  the  birthplace  of  Vincenzo  Vela 
(1822-91),  is  the  Museo  Vela,  -with  models  and  a  few  originals  by 
that  sculptor.  —  A  short  tunnel  carries  us  through  the  •watershed 
between  the  Laveggio  and  the  Breggia.    139  M.  Balerna. 

140  M.  Chiasso  (765  ft.;  *Buffet;  Hot.  de  la  Gare,  Alb.  Croce 
Rossa,  R.  2,  B.  1  fr.,  both  at  the  station),  the  last  Swiss  village 
(custom-house ;  usually  a  long  halt).  To  Cernobbio,  see  p.  174.  — 
The  line  pierces  the  Sa.iso  Cavallasca  by  means  of  a  tunnel  3170  yds. 
long,  beyond  which  a  view  of  the  Lake  of  Como  is  disclosed  to 
the  left. 

143  M.  Como  (Stazione  San  Giovanni,  p.  1 67) ;  thence  to  (173  M.) 
Milan,  see  R.  24. 


17 


4.  From  Thusis  to  Colico  over  the  Spliigen. 

58  M.  Diligence  from  Thusis  to  Chiavenna  (41  M.)  twice  daily  in 
summer  in  10  hr3.  (fare  16  fr.  50,  coupd  19  fr.  80  c.).  Extka  Post  from 
Thnsis  to  Cliiavenna  with  two  horses  99  fr.  20  c,  with  three  horses  135  fr. 
50  c.  —  Railway  (electric)  from  Chiavenna  to  Colico  (Lecco),  17  M.,  in 
V*  hr.  (fares  3  fr.  15,  2  Ir.  20,  1  fr.  40  c),  corresponding  with  the  steam- 
boats to  Como. 

Thusis  [2370  ft. ;  Hot-Pens.  Via  Mala,  Post,  Hot.  Splugen,  etc.), 
a  station  of  the  Rliaetian  line  from  Coire  to  the  Engadine,  lies  at 
the  confluence  of  the  Rhine  and  the  Nolla.  —  The  Spliigeu  road 
leads  hence  through  the  gorge  of  the  Via  Mala,  crossing  the  foaming 
Rhine  several  times.    Finest  view  at  the  second  bridge. 

71/2  M.  Andcer  (3210  ft.).  —  Then  we  follow  the  wooded  Bo/Via 
Raxune  and  the  picturesque  Rheinwald-  Tal  to  — 

16  M.  Spliigen,  Roman.  Spluga  (4757  ft.;  Hotel  Bodenhaus, 
R.  2V-r5,  B.  11/4-1 V2,  D-  31/2 fr.;  Hot.  Spluyen),  the  capital  of  the 
Rheinwald -Tal,  at  the  junction  of  the  Splugen  and  Bernardino 
routes.  The  latter  here  runs  to  the  W.  The  Spliigen  route  turns  to 
the  left,  crosses  the  Rhine,  and  ascends  in  windings  to  the  (6'''/4  M.) 
Splugen  Pass  (^Colmo  delV  Orso ;  6945  ft.),  the  boundary  between 
Switzerland  and  Italy.  About  8/4  M.  beyond  the  pass  is  the  diligence- 
station  of  Monte  Spluga  (6260  ft.)  with  the  Italian  custom-house 
(dogana)  and  several  inns. 

The  road  now  descends  by  numerous  zigzags  along  the  E.  slope, 
being  protected  against  avalanches  by  three  long  galleries  and  avoid- 
ing the  dangerous  Liro  Oorge.  Beyond  Pianazzo  (4528  ft. ;  plain 
inn),  near  the  entrance  to  a  short  gallery,  the  Madesimo  forms  a 
magnificent  waterfall,  655  ft.  in  height,  which  is  best  surveyed  from 
a  platform  by  the  roadside. 

From  Pianazzo  a  road  ascends  to  the  N.E.  to  (l'/4  ^.)  Madesimo 
(5033  ft.),  a  prettily  situated  village  with  a  chalybeate  spring  and  a  ^Hydro- 
pathic. 

33  M.  Campodolcino  (3622  ft.  ;  Posta,  R.  2-372,  B.  1  fr.)  con- 
sists of  four  large  groups  of  houses.  The  second  contains  the  church. 
The  Lira  Valley  (Valle  San  Oidcomo)  is  strewn  with  fragments  of 
rock,  but  the  wildness  of  the  scene  is  softened  by  the  luxuriant 
foliage  of  the  chestnuts  lower  down,  from  which  rises  the  slender 
campanile  of  the  church  of  Oallivaggio.  Beyond  (38 '/2  M.)  San 
Oiacomo  the  rich  luxuriance  of  Italian  vegetation  unfolds  itself  to 
the  view. 

41  M.  Chiavenna.  —  Hotels.  "Hotel  Coneadi  et  Poste,  V^  M. 
from  the  railway-station,  with  railway  ticket  office,  K.  2V2-4,  B.  I1/4,  dej.  2'/2, 
D.  3-41/2'  S.  21/2,  pens.  6V2-8,  omn.  1/2-^/4  fr-  i  Hotel  Kational  &  Engadinek 
HoF,  with  cafc-reslaurantj  R.  from  2V2,  B.  I'A,  dej.  2V2,  D-  SVx,  pens.  (31/2- 
8  fr.  —  Hot.  Helvetia  <fc  Specola,  at  the  station,  E.  2'/2,  B.  1  fr. ;  Alb. 
Crimea,  on  the  Promenade,  R.  I1/2  fr.,  Alb.  della  Stazione,  R.  1-2,  B.  1  fr., 
both  Italian;  Alb.  San  Paolo,  near  the  station,  unpretending.  —  Good  beer 
at  the  Lmcenkeller . 

The  Station  (Cafi- Restaurant,  d(?j.  or  D.  incl.  wine  21/2  fr. ;  beer)  lies 
to  the  S.E.    of  the  town.     Through -tickets  are  here  issued  to  the  steam- 

Baedekeb.   Italy  I.    13th  Edit:  2 


18     Route  4.  CHIAVENNA. 

boat-stations  on  the  Lago  di  Como,  with  coupon  for  the  omnibus-journey 
between  the  railway-station  and  the  quay  at  Colico.  —  Diligence  Office  at 
the  station. 

Chiavenna  (1040  ft.),  the  Roman  Clavenna,  an  ancient  town 
with  3100  inhab.,  charmingly  situated  on  the  Mera,  is  adapted  for 
a  stay  of  some  time.  The  town,  the  key  of  the  Spliigen  road  and  of 
the  Val  Bregaglia,  through  which  the  road  to  the  Maloja  Pass  and 
the  Engadine  leads  to  the  E.,  belonged  (along  with  the  Valtellina) 
to  the  Grisons  from  1512  to  1797.  The  castle-rock  above  the  town, 
now  known  as  the  '■Paradisd,  frequently  the  centre  of  struggles 
with  the  dukes  of  Milan,  commands  a  picturesque  view  (adm.  50  c). 
At  the  foot  of  the  rock,  opposite  the  Hotel  Conradi,  are  the  ruins  of 
an  unfinished  palace  of  the  last  governor  appointed  by  the  Grisons. 
San  Lorenzo,  the  principal  church ,  has  a  slender  clock-tower  or 
campanile,  rising  from  an  arcaded  enclosure  which  was  formerly 
the  burial-ground.  The  octagonal  Battisterio  (closed;  fee  15-20  c.) 
contains  a  font  of  1206,  adorned  with  reliefs.  Chiavenna  is  the 
legendary  scene  of  Frederick  Barbarossa's  unavailing  prostration 
before  Henry  the  Lion,  shortly  before'  the  battle  of  Legnano  (p.  5). 

The  hills  of  the  Val  Capiola,  I1/2  M.  from  Chiavenna,  contain  many 
'Marmitte  dei  Giganti'  (giant's  kettles)  or  ancient  'glacier -mills'  of  all 
sizes  (guides  at  the  hotels). 

The  Electeic  Railway  to  Colico  (fares,  see  p.  17}  traverses 
three  tunnels  soon  after  starting,  beyond  which  we  enjoy  a  fine 
retrospect  of  Chiavenna.  Rich  vine-bearing  country.  The  valley 
(Piano  di  Chiavenna)  is  enclosed  on  both  sides  by  lofty  mountains. 
The  lower-lying  districts  are  exposed  to  the  inundations  of  the  Mera. 
On  the  right  bank  lies  Oordona,  at  the  mouth  of  the  Val  della  Forcola, 
beyond  which  the  Boggia  forms  a  pretty  waterfall  in  its  precipitous 
descent  from  the  narrow  Val  Bodengo.  —  6  M.  Samdlaco  is  the 
station  for  the  large  village  of  that  name  on  the  opposite  (tight) 
bank  of  the  Mera,  at  the  mouth  of  the  Val  Mengasca.  Near  (81/2  M.) 
Novate  (Mtzzola)  the  railway  reaches  the  Lago  di  Mezzola  (655  ft.), 
originally  the  N.  bay  of  the  Lake  of  Como  (comp.  p.  174),  with 
which  it  is  now  connected  by  a  single  narrow  navigable  channel. 
To  the  S.  appears  the  pyramidal  Monte  Legnone  (p.  180). 

The  railway  skirts  the  E.  bank  of  the  lake,  via  Campo  and 
Verzeia,  and  crosses  the  Adda  (p.  180)  beyond  (121/2  M.)  Dubino. 
The  Valtellina  railway  (p.  180)  joins  ours  from  the  left;  we  observe 
on  a  hill  to  the  right  the  ruined  castle  of  Fuentes,  once  the  key  of 
the  Valtellina,  erected  by  the  Spaniards  in  1603,  and  destroyed  by 
the  French  in  1796. 

17  M.  Colico  (720  ft. ;  Rail.  Restaurant;  Hotel  Risi,  with  cafe'- 
restaurant,  at  the  landing-stage,  R.  2Y2,"B.  1  fr.,  unpretending, 
and  others),  at  the  N.E.  extremity  of  the  Lake  of  Como,  see  p.  180. 
The  station  is  nearly  1/2  M.  from  the  quay  (omnibus,  see  p.  17).  — 
Railway  from  Colico  to  Lecco  (Milan),  see  pp.  171-165. 


19 


5.  From  Innsbruck  to  Verona  by  the  Brenner. 


175  M.  Al'steian  Sodtheen  Railway  (Oesterreichische  Siidbahn)  to  Ala, 
thence   Italian  Railway  (Rete  Adriatica) ;   express   fares   32  fr.   45,   24  fr. 

5  c;  ordinary  23  fr.  45,  17  fr.  35,  11  fr.  50  c.  (through -tickets  payable  in 
gold).  The  'Nord-Siid-Express-Zug'  (Berlin  to  Verona,  in  winter  to  Milan), 
a  (rain  de  luxe  composed  of  lirst-class  and  dining  cars,  performs  the  journey 
in  ca.  6^4  hrs. ;  the  day-express  (1st  &  2nd  cl.)  takes  8,  the  night-express 
(1st,  2nd,  &  3rd  cl.)  &V2,  'he  ordinary  trains  12  hrs.  —  Views  on  the  right 
as  far  as  the  summit  of  the  Brenner. 

The  Brenner  (44y5ft.),  the  lowest  pass  over  the  principal  chain  of  the  Alps, 
is  traversed  by  one  of  the  oldest  of  the  Alpine  routes,  which  was  used  as  early 
as  the  Roman  period,  and  rendered  practicable  for  carriages  in  1772.  The 
railway,  opened  in  1867,  is  carried  through  30  tunnels,  and  over  60  large 
and  a  number  of  smaller  bridges  within  a  distance  of  83  M.  The  steepest 
gradient,  1 :  40,  is  between  Innsbruck  and  the  culminating  point. 

Innsbruck  (1880  ft.;  Hot.  Tirol,  R.  from  4V2,  B.  li/o,  d.'j.  3, 
D.  5  A'.,  Hot.  de  V Europe,  R.  3-6,  B.  11  4,  D.  4  ^.,  Goldene  Sonne, 
R.  3-6,  B.  11/4,  D.  4-5  K.,  all  tLree  at  the  station;  Hotel  Kreid, 
Hot.  Habsburg,  both  near  the  station,  Hot.  Victoria,  opposite  the 
station,  these  three  second-class;  Rail.  Restaurant),  the  capital  of 
Tyrol,  with  44,000  inhab.,  is  described  in  Baedeker  s  Eastern  Alps. 

The  railway  ascends  the  valley  of  the  Sill.    Numerous  tunnels. 

6  M.  Patsch  (2570  ft.).  —  I2V2  M.  Matrei  (3254  ft.),  with  the 
chateau  of  Trautson.  —  151/2  M.  Steinach  (3432  ft.).  —  The  train 
now  ascends  a  steep  incline,  crosses  the  valleys  otSchmirn  and  Vals 
in  a  wide  curve  beyond  (ISi/o  M.)  St.  Jodok,  and  runs  high  above 
the  Sill  to  (21 V2  M-)  Gries  (4114  ft.).  It  then  passes  the  small  green 
Brenner-See  (on  the  right),  and  reaches  — 

25  M.  Stat.  Brenner  (4496  ft. ;  Buffet),  on  the  summit  of  the 
pass,  the  watershed  between  the  Black  Sea  and  the  Adriatic.  From 
the  hillside  to  the  right  descends  the  Eisack,  which  the  train  now 
follows.  —  271/2  M.  Brennerbad  (4350  ft.).  The  Utio  then  descends 
rapidly  to  (30V2  M.)  Schelleberg  (4075  ft.),  where  it  turns  into  the 
Pflersch-Tnl,  returning,  however,  to  the  Eisack  valley  by  a  curved 
tunnel,  835  yds.  long.  —  36  M.  Oossensass  (3494  ft.),  a  summer- 
resort.  —  The  train  now  runs  through  wild  rocky  scenery.  40  M. 
Steramp  (3il0ft.).  On  the  left  rises  the  castle  of  Sprechenstein,  and 
on  the  right  those  of  Thumburg  and  Reifenstein.  —  43  M.  Freien- 
feld.  —  We  now  cross  the  Eisack.  On  the  left  bank  is  the  handsome 
castle  of  Welfenstein.  —  47  M.  Grnsstein  (2745  ft.),  at  the  entrance 
of  the  narrow  defile  of  (491/2  M.)  Mittewald.  The  lower  end  of  the 
defile,  called  the  Brixener  Klause ,  near  Unterau,  is  closed  by  the 
Franzensfeste,  a  strong  fortress  constructed  in  1833.  The  (52  M.) 
station  (2450  ft.;  *Rail.  Restaurant),  the  junction  of  the  Pustertal 
line  (for  Carinthia),  lies  I1/4  M.  to  the  N.W.  of  the  fortress.  — 
Vineyards  and  chestnuts  now  appear. 

59  M.  Brixen  (1840  ft.)  was  the  capital  of  an  ecclesiastical 
principality,  .scrularized  in  1803.  —  "We  cross  the  Eisack.  61  M. 
Albeina.     The  valley  contracts.    64  M.   Villnosa;    65  M.    Klausen 

2* 


20     Route  5.  BOTZEN.  From  Innsbruck 

(1720  ft.).  —  The  line  skirts  precipitous  porphyry  cliffs.  —  69  M. 
Waidbruck  (1545  ft.).  On  the  left,  high  above,  rises  the  Trostburg. 
The  train  crosses  the  Eisack,  in  a  -wild  rapine  hemmed  in  hy  por- 
phyry rocks.  74'/2  M.  Atzwang  (1220  ft.).  —  78  M.  Blumau.  On 
the  right  bank  begin  the  vine-clad  slopes  of  the  Botsener  Leiie.  — 
81 V2  M.  Kardaun.  The  train  now  returns  to  the  right  bank  of  the 
Eisack  and  enters  the  wide  basin  of  Botzen,  a  district  of  luxuriant 
fertility. 

83  M.  Botzen.  —  Ran.  Uestauranl.  —  Hotels.  Bristol,  Kaiser  Franz 
Joseph-Str.,  2  min.  from  the  station,  R.  3-7,  B.  I1/2,  D.  4,  S.  3  £".,  Victoeia, 
opposite  the  station,  R.  3-5,  B.  l'/4,  dej.  3,  D.  5  A'.,  both  first-class;  Kaisek- 
KRONE,  Erzherzog  Rainer-Str.,  R.  from  2'/2,  B.  I-I74  li- ;  Gkeif,  R.  2i/z-5, 
B.  I'/z  AT.,  Hot.  de  l'Edbope,  R.  2-5,  B.  l-l'/z  K.,  Hot.  Walter  von  der 
VoGELWEiDE,  R.  2-4,  B.  1  K.,  all  in  the  Waiter-Platz,  with  restaurants; 
Hot.  Stiegl,  1/3  M.  from  the  station,  well  situated;  Hot.  Tirol,  Obatmarkt, 
R.  1  K.  60^.-2  K.,  for  passing  tourists,  etc. 

Botzen,  Ital.  Bolzano  (870  ft.),  with  13,900  inhab.,  in  the  middle 
ages  the  chief  centre  of  the  trade  between  Venice  and  the  North, 
and  to-day  the  most  important  commercial  town  in  Tyrol,  is  beauti- 
fully situated  at  the  confluence  of  the  Eisack  and  the  Talfer,  which 
descends  from  the  Sarntal  on  the  N.  The  background  towards  the  E. 
is  formed  by  the  strikingly  picturesque  dolomite  mountains  of  the 
Val  di  Fassa ;  to  the  W.  rises  the  long  porphyry  ridge  of  the  Mendel. 
In  the  Walter-Platz  is  a  Monument  to  Walter  von  der  Vogelweide, 
the  poet,  by  H.  Natter  (1889).  The  Gothic  Parish  Church  of  the 
14th  and  15th  cent,  has  a  portal  with  two  lions  of  red  marble,  in 
the  Lombard  style.  —  The  Virglwarte  (1512  ft.;  1  hour's  walk,  to 
the  S.  of  the  town  beyond  the  Eisack,  ascent  from  the  E.  end  of  the 
bridge)  commands  a  fine  view.  —  Beyond  the  Talfer,  at  the  foot  of 
the  Guntschnaberg,  lies  Ories,  frequented  as  a  winter-resort. 

From  Botzen  a  branch-line  diverges  to  (20  M.)  Meran  (1V2-2  hrs.). 
See  Baedeker's  Eastern  Alps. 

Beyond  Botzen  the  train  crosses  the  Eisack,  shortly  before  its 
confluence  with  the  Etsch,  or  Adige,  which  becomes  navigable  at 
(891/2  M.)  Branzoll.  In  the  distance,  to  the  right,  rises  the  wooded 
range  of  the  Mittelberg,  Beyond  (93  M.)  Auer  the  train  crosses  the 
Adige.  —  96  M.  Neumarkt-Tramin.  —  102 Y2  M.  Saturn,  commanded 
by  the  ruined  Haderburg  on  an  apparently  inaccessible  rock.  — 
107  M.  San  Michele,  with  a  handsome  old  Augustine  monastery,  is 
the  station  for  the  Val  di  Non.  The  train  again  crosses  the  Adige. 
—  Ill  M.  Lavis,  on  the  Avisio,  the  stony  bed  of  which  is  crossed 
farther  on  by  a  bridge  1000  yds.  in  length. 

1171/2  M.  Trent.  —  Hotels.  Imperial  Hotel  Trento,  near  the 
station,  R.  4-8,  B.  I1/2,  dej.  S'/z,  D.  5  K.,  first-class;  Cabloni,  Via  Lunga, 
with  good  reslaurant. 

Trent  (640  ft.),  or  Trento,  Lat.  Tride7itum ,  with  25,000  in- 
hab., formerly  the  wealthiest  and  most  important  town  in  Tyrol, 
possesses  numerous  towers,  palaces,  and  broad  streets,  and  presents 


to  Verona.  TRENT.  5.  Route.     21 

an  imposing  appearance.  The  pretty  grounds  (Piazza  Dante)  ad- 
joining the  station  are  adorned  with  a  lofty  Monument  to  Dante, 
designed  by  Cesare  Zocchi  (1896). 

The  Cathedral,  founded  early  in  the  11th  cent.,  rebuilt  in  1212 
et  seq.,  and  under  restoration  since  1882,  is  a  Romanesque  church 
surmounted  by  a  dome.  The  N.  portal,  as  at  Botzen ,  is  adorned 
with  a  pair  of  lions.  In  the  S.  transept  are  frescoes.  —  In  the  Piazza 
Grande  (at  the  cathedral),  which  is  embellished  with  the  tasteful 
Neptune  Fountain  (1769),  stands  the  Palazzo  Pretorio  (now  the  mili- 
tary headquarters),  with  the  old  Torre  Grande  (clock-tower). 

Santa  Maria  Maggiore,  begun  in  1520,  contains  a  picture  (1563), 
in  the  choir,  with  portraits  of  the  members  of  the  Council  of  Trent 
which  assembled  here  in  1545-63.  The  handsome  organ-loft,  in 
the  Renaissance  style,  is  by  V.  Vincentino  (1534). 

The  Palazzo  Municipale,  in  the  Via  Larga,  to  the  N.  of  the  cath- 
edral, contains  the  Public  Library  and  the  Museum,  the  latter  con- 
sisting of  collections  of  natural  history  specimens,  S.  Tyrolese  anti- 
quities, etc. 

On  the  E.  side  of  the  town  rises  the  imposing  Castello  del  Buon 
Consiglio  (adm.  9-1 1  and  2-4),  formerly  the  seat  of  the  prince-bishops 
and  now  a  barrack.  A  fine  view  is  enjoyed  from  the  huge  Torre  di 
Augusta.  —  A  good  view  of  the  town  is  also  obtained  from  the  Ca- 
puchin Convent  above  the  Castello.  —  The  ancient  and  well-pre- 
served wall  on  the  S.  of  the  town  is  ascribed  to  Theodoric  the  Great. 

From  Tbe.nt  to  Tkzze,  48V2  M.,  railway  in  2V2-3V2  hrs.  (fares  6^.  70. 
•1  A'.  50,  2  A'.  30 A.).  The  line  (\'alsugana  Railway)  quits  the  valley  of  the 
Adige  bv  means  of  a  long  viaduct,  describes  a  large  loop,  and  passes 
through 'a  spiral  tunnel  to  (SVz  M.)  Villazzano  (920  ft.)-  —  9V2M.  Ponte  Alto 
(1155  ft.),  in  the  Fersina  Valley;  15V2  M.  Ph-gine  (1555  ft.),  on  the  watershed 
between  the  Adige  and  the  Brenta;  17V2  M.  .S'an  Cristd/oro  (1485  ft.),  on 
the  Logo  di  Caldonazzo.  —  Beyond  (22  M.)  Caldonazzo  (1530  ft.),  we  cross 
the  Drenta,  is.suing  from  the  lake,  and  reach  ('J4  M.)  Levico  (1640  ft.),  with 
chalybeate  and  ar.senical  springs.  —  The  line  now  traverses  the  broad  Veil 
Sugana,  vii  (30  M.)  Roncegno-Marter  (1365  ft.),  the  station  for  the  baths  of 
Roncegno  (1655  ft.),  and  (32  M.)  Borgo  di  Valsuyana  (1245  ft.).  —  Beyond 
(.39  JI.)  Ospedaletto  the  railway  skirts  the  base  of  the  Cima  Laste  i5505  ft), 
on  which  high  up  appears  the  remarkable  natural  bridge  known  as  the 
Ponte  deW  Oreo.  ii^l->  M.  Grigno.  We  then  cross  the  Grigno  to  (48V2  M.) 
Tezze  (740  ft. ;  Austrian  custom-house),  the  present  terminus  of  the  rail- 
way, which  is  being  continued  via  Primolano,  Bassauo  (p.  280),  and  Castel- 
franco  (p.  279),  to  Mestre  (p.  269-,  Venice). 

Beyond  Trent,  the  railway  follows  the  left  bank  of  the  Adige.  — 
1221/2  M.  Mattarello.  On  a  hill  near  (127'/2  M.)  Calliano  rises  the 
castle  of  Beseno  (to  the  left).  The  lower  valley  of  the  Adige,  as  far 
as  the  Italian  frontier,  is  named  the  Val  Lagarina.  It  is  rich  in 
vines,  maize,  and  mulberries. 

132  M.  Rovereto  (623  ft.;  Grand  Hotel,  R.  from  3  K.,  flrst-class; 
Hutel  Central,  R.  from  H/o  ^^■),  a  thriving  town  with  10,200  inhab. 
—  Road  to  Recoaro  (motor -omnibus  in  summer),  Torrebelvicino, 
and  Schio,  see  p.  269. 

The  train  crosses  the  Leno.  On  the  right  bank  of  the  Adige  lies 


22     Route  5.  ALA. 

Isera,  celebrated  for  it8  wine.  On  the  left  bank,  near  Liszana,  is 
the  Castello  Dante  (1003  ft.),  in  which,  about  the  year  1302,  Dante 
when  banished  from  Florence  was  the  guest  of  Count  Castelbarco. 

1341/2  M.  Mori  (570  ft.;  Buffet;  Railway  Hotel,  R.  from  II/2, 
D.  3-4  K.^  is  the  starting-point  of  a  narrow-gauge  railway  to  Riva 
on  the  Lago  di  Garda  via  Nago  and  Arco ,  and  of  the  road  to  Riva 
via  Nago  and  Torbole. 

From  Mori  to  Riva,  I5V2  M.,  railway  in  I1/2  hr.  (fares  Ist  cl.  3  K.  20  h., 
3rd  cl.  1  K.  60  ft. ;  best  views  to  the  left).  The  line  crosses  the  Adige  to 
(2  M.)  Mori  Sorgata,  the  station  for  the  large  village  of  Mori  (635  ft.),  noted 
for  its  asparagus.  It  then  traverses  the  broad  green  valley  to  (4'/2  M.)  Loppio 
(735  ft.),  with  the  chateau  of  Count  Castelbarco,  passes  the  little  Lago  di 
Loppio  (735  ft.),  with  its  rocky  islands,  and  winds  up  among  rocky  debris 
to  the  (l'/4  M.)  culminating  point  of  the  route,  at  the  chapel  of  San 
Giovanni  (915  ft.).  We  now  descend  to  (8  M.)  Nago  (710  ft. ;  Hdt.  Adler, 
plain;  wine  :it  the  Qans),  a  village  situated  on  the  brink  of  a  ravine, 
with  the  ruins  of  the  castle  of  Penede  (94S  ft.),  on  a  barren  rock  to  the 
left.  —  The  line  descends  along  the  slope  of  the  mountains.  We  enjoy 
an  exquisite  'View  of  the  blue  Lago  di  Garda,  with  the  Sarca  at  our  feet, 
and  the  long  Monte  Brione  opposite.  Presently  Arco  and  the  wide  valley 
of  the  Sarca,  with  its  mountain-sides,  come  into  view.  —  11  M.  Oliretarca 
is  the  station  for  Vignole ,  Bolognano,  and  other  villages.  We  then  cross 
the  Sarca  to  (12'/v!  M.)  Arco  (p.  239).  Thence  we  traverse  the  fertile  valley 
via  (13'/2  M.)  iSan  Tommaso.  —  15V2  M.  Riva  (p.  237;  steamers  on  the  Lago 
di  Garda,  see  p.  229). 

Near  (136  M.)  Marco  the  line  intersects  the  Slavini  di  Marco, 
probably  the  remains  of  an  ancient  glacier,  according  to  others  the 
traces  of  a  vast  landslip,  which  is  said  to  have  buried  a  town  here 
in  883,  and  is  described  by  Dante  (Inferno,  xii.  4-9).  At  (1381/2  M.) 
Serrnvalle  the  valley  contracts. 

142  M.  Ala  (480  ft.;  Rail.  Restaurant;  Corona),  a  small  in- 
dustrial town  with  5000  inhab.,  is  the  seat  of  the  Italian  and 
Austrian  custom-house  authorities.  Those  who  have  forwarded 
luggage  by  this  route  to  or  from  Italy  should  enquire  for  it  at  the 
custom-house  here.  Through  the  Val  dei  Ronchi  to  Giazza,  see 
p.  256.  —  144  M.  Avio,  with  a  recently  restored  chateau  of  Count 
Castelbarco,  containing  14th  cent,  frescoes. 

1491/2  M-  ■P^'"*'  (4:13  ft.),  the  first  Italian  station,  is  the  starting- 
point  for  the  ascent  of  the  Monte  Baldo  (Mte.  Maggiore ;  comp. 
p.  216).  —  On  an  eminence  to  the  right,  near  (156  M.)  Ceraino, 
lies  Rivoli,  which  was  stormed  by  the  French  in  1796  and  1797 
under  Masse'na,  and  afterwards  gave  him  his  ducal  title.  —  We  now 
enter  the  Chiusa  di  Verona,  a  rocky  defile  celebrated  in  mediaeval 
warfare.    At  the  entrance  are  the  works  of  Incanale. 

The  train  passes  (160  M.)  Domegliarh  (400  ft.),  also  a  station 
on  the  Verona  and  Garda  line  (comp.  p.  236),  then  (164  M.) 
Pescantina,  and  (167  M.)  Parana  all'  Adige  (■p.  236),  crosses  the 
Adige,  and  soon  reaches  the  Verona  and  Milan  line. 

At  Verona  (see  p.  243)  it  first  stops  at  (173  M.)  the  Stazione 
Porta  Nuova  and  then  at  the  (175  M.)  Stazione  Porta  Vescovo,  the 
principal  station. 


23 


6.  From  Vienna  to  Venice  via  Pontebba. 


401  M.  AnsTEiAN  SoDTH  Railway  to  Bruck;  Ahstkian  State  Railwai 
thence  to  Pontafel;  Italian  Railway  (Rete  Adriatica)  thence  to  Venice. 
'Train  de  luxe'  (Vienna-Cannes ;  first-class  carriages  only,  at  special  rate) 
daily  in  winter  in  13^/4  hrs. ;  express  train  in  151/4  hrs.  (fares  76  fr.  6,  53  fr. 
85  c.) ;  ordinary  train  in  24'/.;  hrs. 

Vienna,  see  Baedeker's  Austria.  The  express  trains  take  II/2  hr, 
from  Vienna  to  (46l/oM.)  Ologgnitz  via  Baden  and  Wiener-Neustadt. 
—  At  Gloggnitz  (1450  ft.)  begins  the  Semmering  Railway,  the  oldest 
of  the  great  continental  mountain-railways,  constructed  in  1848- 
53  (best  views  on  the  left).  In  the  valley  flows  the  green  Schwarza. 
On  the  left  is  the  three-peaked  Sonnwendstein ;  to  the  right,  in  the 
background,  the  Eaxalp.  —  At  (51  M).  Payerbach(^i&ib  ft.)  the  train 
crosses  the  Valley  of  Reichenau  by  a  viaduct  96  ft.  high  and  ascends 
rapidly  on  the  S.  slope  of  the  valley  (gradient  1 :  40).  Beyond  four 
tunnels  we  reach  (60  M.)  Klamm  (2290  ft.),  with  a  half-ruined 
castle  of  Prince  Liechtenstein,  on  a  rocky  pinnacle.  The  train  now 
skirts  the  Weinzettelwund  by  a  long  gallery  and  reaches  (64'/.2  M.) 
Breitenstein  (2595  ft.).  The  ravines  of  the  Kalte  llinne  and  the 
Vntere  Adlitzgraben  are  crossed  by  lofty  viaducts,  between  which 
the  line  ascends  in  curves. 

Beyond  (691/2  M.)  Semmering  (2935  ft.)  the  train  passes  from 
Austria  into  Styria  by  means  of  the  Seminering  Tunnel,  nearly  1  M. 
long.  It  then  descends  the  valley  of  the  Froeschniiz  to  (8O1/2  M.) 
Miirzzuschlag  (2200  ft.)  and  follows  the  picturesque  valley  of  the 
Miirz,  containing  numerous  forges.  —  901/2  M.  Mitterdorf;  95  M. 
Kindberg,  with  a  castle  of  Count  Attems.  —  103  M.  Kapfenberg. 

106  M.  Bruck  an  der  Mur  (1595  ft.),  a  small  town  at  the  con- 
fluence of  the  Miirz  and  the  Mur ,  is  the  junction  of  tlie  line  to 
Gratz  and  Trieste  (see  Baedeker's  Austria^. 

The  Staatsbahn,  which  wo  now  follow,  diverges  to  the  right 
from  the  South  Railway,  crosses  the  Mur,  and  ascends  the  narrow 
valley  of  that  river.  Beyond  (114  M.)  Niklasdorf  y/e  again  cross  the 
Mur  and  reach  (116  M.)  Leoben  (1745  ft.),  the  most  important 
town  of  Upper  Styria  (10,000  inhab.).  —  1241/2  M.  Sankt  Michael 
(1955  ft.),  at  the  mouth  of  the  Liesing-Tal,  is  the  junction  for 
the  line  to  Selztal.  —  139  M.  Knittelfeld  (2115  ft.).  —  I48V2  M. 
Judenburg  (2408  ft,),  an  old  town,  with  extensive  foundries.  — 
160  M.  Unzmarkt.  On  the  right  rises  the  ruin  of  Frauenburg,  once 
the  seat  of  the  minnesinger  Dlrich  von  Liechtenstein.  Beyond 
(I641/2  M.)  Scheifling,  with  the  chateau  of  Schrattenberg  (r.),  the 
train  quits  the  Mur  and  ascends  to  (I691/2  M.)  St.  Lambrecht 
(2915  ft.),  on  the  watershed  between  the  Mur  and  the  Drave.  It 
then  descends  the  valley  of  the  Olsa,  passing  (1721/2  M.)  Neumarkt. 

I821/2  M.  Friesach  (2208  ft.)  ,  an  ancient  town  on  the  Melnitz, 
commanded  by  four  ruined  castles.  —  I851/2  M.  Hlrt.  The  train 
now  enters  the  Krappfeld,  the  fertile  plain  of  the  Qurk ;  to  the  E. 


24     Route  6.  PONTEBBA. 

is  the  Sau-Alpe,  to  the  S.  rise  the  Karawanken  and  the  Terglou.  — 
1971/2  M.  Launsdorf.  About  2  M.  to  the  S.W.,  on  a  rock  590  ft. 
high,  is  the  handsome  castle  of  Hoch-Osterwitz. 

From  (202  M.)  Giandor/"  (1540  ft.)  a  branch -line  diverges  to 
Klagenfurt.  —  203  M.  St.  Veit  an  der  Glan  was  the  capital  of 
Carinthia  down  to  1519.  —  2071/2  M.  Feistritz-Pulst.  —  Beyond 
(218  M.)  Fddkirchen  we  skirt  a  wide  moor  and  at  (2231/2  M.)  Stein- 
dorf  we  approach  the  Ossiacher  See  (1620  ft.).  At  the  S.W.  end 
of  the  lake  is  the  ruin  of  Landskron. 

234  M.  Villach  (1640  ft.;  *Rail.  Restaurant;  Hot.  Mosser,  etc.), 
an  old  town  on  the  Drave,  with  8600  inhab.,  the  junction  of  the 
lines  to  Marburg  and  Franzensfeste,  is  picturesquely  situated  at  the 
base  of  the  Dobratsch  (7110  ft.). 

The  train  crosses  the  Drave  and  the  Oail.  2441/2  M.  Arnold- 
stein.    248  M.  Thorl-Maglern. 

25ii/o  M.  Tarvis  (2388  ft.;  Rail.  Restaurant),  where  the  railway 
from  Laibach  joins  ours  on  the  left,  the  chief  place  in  the  Canal 
Valley,  is  beautifully  situated. 

Beyond  Tarvis  the  line  gradually  ascends.  To  the  left  rises  the 
Luschariberg  (5880  ft.),  a  pilgrims'  resort,  and  behind  us  is  the  im- 
posing Manhart.  —  2561/2  M.  Saifnitz  (2615  ft.),  on  the  watershed 
between  the  Black  Sea  and  the  Adriatic.  The  train  then  descends 
along  the  Fella,  and  beyond  (2621/2  M.)  Malborghet  traverses  a 
rocky  ravine,  at  the  end  of  which  lies  (266'/2  M.)  Lusnitz. 

272  M.  Pontafel  (1870  ft. ;  Railway  Restaurant),  the  Austrian 
frontier  and  customs  station,  is  separated  by  the  Pontebbana  from  — 

274  M.  Fontebba,  the  first  village  in  Italy,  with  the  Italiau 
custom-house  (luggage  examined).  The  next  part  of  the  railway, 
descending  the  wild  ravine  of  the  Fella  (Valle  del  Ferro),  traverses 
an  almost  continuous  series  of  cuttings,  tunnels  (24  before  Stazione 
per  la  Carnia),  bridges,  and  viaducts.  The  Fella  is  crossed  by  an 
iron  bridge,  130  ft.  high.  —  278  M.  Dogna  (1510  ft.),  at  the  mouth 
of  the  valley  of  that  name;  in  the  background,  to  the  E.,  rises  the 
grand  pyramid  of  the  Montasio  (9035  ft.).  We  recross  the  river.  — 
281  M.  Chiusaforte  (1285  ft.},  at  the  entrance  of  the  picturesque 
Raccolana  Valley.  At  (286  M.)  Resiutta  (1035  ft.)  the  train  crosses 
the  Resia.  Below  (288  M.)  Moggio  (Vdinefte)  the  valley  of  the  Fella 
expands.  The  bottom  of  the  valley  is  covered  with  rubble.  A  little 
below  (291  M.)  Stazione  per  la  Carnia  the  Fella  flows  into  the 
Tagliamento,  which  here  waters  an  extensive  plain. 

294  M.  Venzone  (765  ft.).  The  train  traverses  the  marshy  valley 
of  the  Tagliamento  by  an  imposing  viaduct,  1/2  M.  in  length,  and 
then  quits  that  river.  —  298  M.  Oemona-Ospedaletto. 

3I61/2  M.  TJdine,  see  p.  349. 

From  Udine  to  (401  M.)  Venice,  see  pp.  349-345. 


II.  Piedmont. 


7.  Turin 27 

From  the  Piazza  Castello,  with  the  Royal  Palace,  to  the 
Academy  (gallery  of  paintings)  and  the  Piazze  San  Carlo 
and  Carlo  Emanuele,  30.  —  From  the  Piazza  Castello  to 
the  Cathedral,  the  Porta  Pa!atin;i,  and  the  Consolata,  36.  — 
From  the  Piazza  Castello  to  the  Pia/za  dello  Statute; 
Giardino  della  Ciitadella;  Corso  Vittorio  Emanuele  Se- 
condo,  37.  —  From  the  Piazza  Castello  by  the  Via  di 
Po  to  the  Piazza  Vittorio  Emanuele  Prime,  and  thence 
to  the  Giardino  Pubblico,  38.  —  Right  bank  of  the  Po ; 
Monte  dei  Cappuccini,  40. 

Excursions:  The  Superga,  41. —  Moncalieri.  Stupinigi. 

Carignano,  42. 

8.  The  Alpine  Valleys  to  the  West  of  Turin 42 

a.  Ceresole  Reale,  42.  —  b.  Lanzo,  43.  —  c.  Snsa,  43.  — 
d.  Torre  Pellice,  44.  —  e.  Crissolo  (Monte  Viso),  44. 

9.  From  Turin  to  Ventimiglia  via  Cuueo  and  Tenda    .    .     45 

10.  From  Cuneo  to  Bastia  (Turin,  Savona) 49 

Environs  of  Mondovi,  49. 

11.  From  Turin  to  Genoa 49 

a.  Via  Bra  and  Savona 49 

From  Bra  to  Alessandria,  50.  —  From  Ceva  to  Ormea,  50. 

b.  Via  Acqui  and  Ovada 51 

c.  Via  Alessandria  and  Novi 62 

12.  From  Turin  to  Aosta  and  Courmayeur 54 

Val  Gri'ssoney,  55.  —  Val  Tournjnche,  56.  —  Beeca  di 
Nona,  58.  —  From  Yillenexive  to  Ceresole  Reale,  59. 

13.  From  Aosta  to  the  Graian  Alps 60 

1.  From  Aosta  to  Cogne,  61.  —  2.  From  Cogne  to  Valsava- 
ranche,  62.  —  3.  From  Valsavaranche  to  Khemes  Kotre- 
Dame,  63.  —  4.  From  Rhemes  Notre-Danie  to  Valgri- 
sanche,  Liverogne,  and  Aosla,  03. 

14.  From  Santhik  (Turin)  to  Biella 64 

15.  From  Turin  to  Arona  via  Santhia  and  Borgomanero    .      66 

16.  From  Turin  to  Milan  via  Novara 65 

From  VerccUi  to  Alessandria,  66.  —  From  Novara  to 
Varallo,  and  to  Seregno,  63. 

17.  From  Domodossola  to  Novara.  liakeofOrta.  FromOrta 

to  Varallo 69 


Thi.s  district  'at  the  foot  of  the  mountains'',  enclosed  on  three  sides 
by  the  Alps  and  Apennines,  and  separated  from  Lombardy  by  the  Ticino, 
embraces,  according  to  the  present  division,  the  provinces  of  Turin,  No- 
vara, Cuneo,  and  Alessandria,  with  3,407,000  inhab.,  and  an  area  of  about 
il,4(X)  sq.  M.  It  consists  of  lowlands  flanking  the  banks  of  the  Po  and  its 
tributaries,  which  yield  rice,  wheat,  and  maize,  and  of  highlands  where  ex-- 
cellent  wine  and  silk  are  produced,  and  lastly  of  a  bleaker  mountain 
region  of  forests  and  pastures.  The  earliest  Inhabitants  were  Celtic  and 
Ligurian  tribes,  who  were  but  slowly  influenced  by  Roman  culture;  and 
it  was  not  till  the  reign  of  Augustus  that  the  subjugation  of  the  higher 
valleys  was  completed.     The  Dialect  of   the  people  still  retains  traces  of 


26  PIEDMONT. 

their  ancient  affinity  with  the  French;  thus,  pieuve,  instead  of  the  Italian 
piovere,  om  for  uomo,  cheur  for  cuore,  siti  for  citti,  rason  for  ragione, 
piassa  iot  piazza.  This  patois  is  universally  spoken,  even  by  the  upper 
classes,  but  is  unintelligible  to  strangers.  Throughout  Piedmont,  however, 
French  is  very  generally  understood. 

The  History  of  the  country  is  closely  interwoven  with  that  of  its 
dynasty.  The  House  of  Savoy  (or  Casa  Sabauda) ,  a  family  of  German 
origin,  professing  even  to  trace  their  descent  from  the  Saxon  I)uke 
Wittekind,  the  opponent  of  Charlemagne,  first  became  conspicuous  among 
the  nobles  of  Upper  Burgundy  about  the  year  1000.  Evmbert  J.  ('■Bian- 
eamano^ ;  A.  1056)  is  generally  regarded  as  the  founder  of  the  dynasty. 
His  descendants,  by  judiciously  espousing  the  cause  of  the  pope  and  the 
emperor  alternately,  gradually  succeeded  in  extending  their  supremacy , 
over  Turin,  Aosta,  Susa,  Ivrea,  and  Nice.  Amadeus  VI.  (1343-83),  known 
as  the  'Conte  Verde'  ('green  count')  from  his  nsual  dress,  extended  the 
power  of  hi»  house  in  numerous  feuds  and  warred  in  the  East.  Ama- 
deus VIII.,  raised  to  the  ducal  dignity  by  Emp.  Sigismund  in  1416,  added 
Geneva,  Vercelli,  and  Piedmont  to  his  possessions,  and  gave  the  princi- 
pality its  first  legislative  code.  He  retired  to  a  hermitage  at  Ripaille,  near 
Thonon,  in  1434,  but  was  created  pope  as  Felix  V.  (1439-49)  by  the  Council 
of  Basle  and  died  in  1451.  —  Situated  between  the  two  great  mediaeval 
powers  of  France  on  one  side,  and  Austria  and  Spain  on  the  other,  the 
princes  of  Savoy  frequently  changed  sides,  and  although  sometimes  over- 
taken by  terrible  disasters,  they  contrived  to  maintain,  and  even  to  extend, 
their  territory.  At  one  period  the  greater  part  of  the  Duchy  was  annexed 
to  France,  but  Emmanuel  Philibert  ('Testa  di  Ferro',  1553-80)  restored  it 
to  its  original  extent,  and  became  its  second  founder.  This  prince  spent 
25  years  as  a  general  in  the  service  of  Charles  V.  and  won  the  battle  of 
St.  Quentin  for  Philip  II.  Under  his  son  Charles  Emmanuel  I.  (1580-1630) 
the  Duchy  again  became  dependent  on  France.  From  the  sons  of  this 
prince  are  descended  the  elder  branch  of  the  family,  which  became  extinct 
in  1831,  and  the  younger  Carignano  line,  which  succeeded  to  the  throne 
in  the  person  of  Carlo  Alberto.  The  following  dukes  were  Vittorio  Amedeo  I. 
(1630-37),  Francesco  Qiacinto  (1637-38),  Carlo  Emanuele  II.  (1638-75),  and 
Vittorio  Amedeo  II.  (1675-1730).  The  last  of  these,  having  boldly  allied  him- 
self with  Austria  during  the  Spanish  War  of  Succession,  managed  to  throw 
off  the  French  suzerainty  (1703);  he  obtained  Sicily  as  his  reward,  which 
island,  however,  he  wai*  afterwards  obliged  to  exchange  for  Sardinia  (1720), 
and  in  1713  assumed  the  title  of  King,  which  was  subsequently  coupled 
with  the  name  of  the  latter  island.  His  successors  were  Carlo  Emanuele  III. 
(1730-73),  and  Vittorio  Amedeo  III.  (1773-96).  After  the  battle  of  Turin 
(1706),  in  which  Prince  Eugene  commanded  the  Imperialists,  the  Piedmont- 
ese  princes  directed  their  attention  to  Prussia,  which  served  as  a  model 
for  the  organisation  of  their  kingdom.  In  both  countries  the  military 
and  feudal  element  preponderated,  and  both  were  obliged  to  succumb 
to  the  new  powers  evolved  by  the  French  Revolution.  Carlo  Emanuele  IV. 
(1796-1802)  was  deprived  of  all  his  continental  possessions  by  the  French 
in  1798,  and  restricted  to  the  island  of  Sardinia,  which  was  protected 
by  the  English  fleet.  Vittorio  Emanuele  I.  (1802-21)  was  at  length  rein- 
stated in  his  dominions,  with  the  addition  of  Genoa,  by  the  Congress  of 
Vienna.  The  Napoleonic  period  had  swept  away  the  feudal  institutions 
of  Piedmont,  and  had  bequeathed  in  their  stead  many  of  the  benefits  of 
modern  legislation,  and  high  military  renown.  It  is  therefore  intelligible 
that  the  clerical  reaction,  which  set  in  with  the  king's  return,  gave  rise 
to  an  insurrection  which  caused  the  king  to  abdicate,  and  had  to  be 
quelled  by  Austrian  troops.  His  brother  Carlo  Felice  (1821-31)  adhered 
faithfully  to  Jesuitical  principles,  and  lived  on  the  whole  in  accordance 
with  his  motto,  'Non  sono  re  per  essere  seccato'  ('worried').  The  older 
line  of  the  House  of  Savoy  became  extinct  with  this  prince,  and  was 
succeeded  by  the  collateral  line  of  Carignano  (p.  42;  27th  April,  1831). 
Carlo  Alberto  (b.  1798),  who  had  been  educated  at  a  French  military 
school,  and  had  headed  the  insurrection  of  1821,  was  protected  by  France 
and  Russia  against  the  attempts  of  Austria   to  deprive  him  of  his  claims 


w 


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TURIN.  7.  Route.    27 

to  the  throne.  His  own  experiences ,  and  the  force  of  circumstances, 
rendered  bim  an  implacable  enemy  of  Austria.  With  him  began  the 
national  development  of  Piedmont,  although  his  eflforts  were  not  always 
consistent.  The  liberals  called  him  the  'Re  Tentenna'  (the  vacillating), 
while  in  1843  he  himself  described  his  position  as  being  'between  the 
daggers  of  the  Carbonari  and  the  chocolate  of  the  Jesuits'.  On  6th 
Jan.,  1848,  Count  Cavour  made  the  first  public  demand  for  the  establish- 
ment of  a  constitution  ,  and  on  the  7th  Feb.  the  king  ,  half  in  despair, 
yielded  to  the  popular  desires.  The  insurrection  in  Lombardy  at  length 
induced  him  to  become  the  champion  of  national  independence  ,  and  to 
give  vent  to  his  old  enmity  against  Austria  (23rd  March),  but  one  year 
later  his  career  terminated  with  his  defeat  at  Novara  (23rd  March,  1849). 
He  then  abdicated  and  retired  to  Oporto,  where  he  died  in  a  few  months 
(26th  July).  It  was  reserved  for  his  son  Vittorio  EmanueU  II.  (b.  1820, 
d.  9th  Jan.,  1878)  finally  to  give  effect  to  the  national  wishes  of  Italy. 

7.  Turin,  Ital.  Torino. 

Railway  Stations.  1.  Stazione  Cenirale,  or  di  Porta  Nvova  (PI.  D,  4), 
the  terminus  of  all  the  lines  (*Rail.  Restaurant,  much  frequented  by  the 
iuhabilants).  —  2.  Stazione  di  Porta  Susa  (PI.  B,  2)  and  3.  Slazione  Torino 
Dora,  to  the  X.  of  the  town,  secondary  stations  for  the  trains  of  the  Novara- 
Wilan  line  and  fur  the  Cuorgno  line.  Omnibuses  and  cabs  meet  every  train 
at  the  first  two  stations.  City  office,  Carpaneto,  Galluria  Subalpina;  Sleeping 
Car  Office,  at  the  railway-station.  —  Stations  of  the  Steam  Tramways:  for 
the  Superga  (p.  41),  for  Trofarello  (p.  51)  via  Moncalieii  (p.  42),  and  for 
Chicasso  and  Brusasco  (p.  66),  in  the  Piazza  Castello  (PI.  E,  2,  3);  for  Cirii- 
Lamo  (p.  43)  near  the  Ponte  Mosca  (PI.  E,  1);  for  Stupinigi  and  Piohesi 
(see  p.  42)  and  fur  Pinerolo  (p.  44)  in  the  Via  Sacchi,  on  the  W.  side  of  the 
Central  Station;  for  Carignano  (p.  42)  in  the  Via  Nizza,  on  the  E.  side  of 
the  Central  Station.  For  the  steam-tramways,  comp.  the  larger  edition  of 
the  time-table  mentioned  at  p.  xvi,  or  the  Orario  dei  Tramways  (10  c). 

Hotels.  Jlost  of  the  leadini;  hotels  have  lifts  and  central  heating.  Gkand 
Hotel  et  Hotel  b'Eueope  (PI.  a;  E,  3),  Piazza  Castello  19,  R.  5-9,  B.  li/a, 
dej.  4,  D.  5,  pens,  from  10,  omn.  1  fr. ;  *Gr.  Hot.  db  Turin  (PI.  b;  D,  4), 
Via  Sacchi  10,  opposite  the  Central  Station,  R.  4-7,  B.  I1/2,  ddj.  3V-2-4,  D.  5-6, 
pens,  from  10,  omn.  V2-I  fr- ;  both  of  the  first  class.  —  "Gb.  Hot.  de  la 
ViLLE  ET  HoLOGNE  (PI.  1;  D,  4),  Corso  Vittorio  Emanuele  Secoudo  60, 
K.  from  3,  B.  11/4,  dej.  3'/2,  D.  41/2,  pens,  from  8  fr.,  incl.  wine;  Hut. 
Bonne-Femme  et  MfiTRoroLE  (PL  d;  E,  3),  Via  Pietro  Micca  3;  Gr.  Hot. 
Suisse -Terminus  (PI.  h;  D,  4),  Via  Sacchi  2,  near  the  Central  Station, 
R.  3-6,  B.  IV2,  dej.  31/2,  D-  41/2,  pens.  8-10  fr.,  incl.  wine,  omn.  1/2  fr. ; 
Hot.  Central  et  Continental  (PI.  e;  E,  3),  Via  delle  Finanze  2,  with 
restaurant,  R.  from  3,  B.  IV4,  dej.  3,  D.  41/2,  pens,  from  9,  omn.  1  fr. ; 
Gr.  Hot.  Fiorina  (PI.  f;  D,  3),  Via  Pietro  Micca  22,  hotel  garni,  well 
furnished,  R.  3-4  fr.,  steam-heating  50-80  c,  omn.  1  fr.  —  The  following  are 
second-class  and  more  in  the  Italian  style:  Alb.  Tre  Corone  e  Victoria 
(PI.  g;  D,  3),  Via  Venti  Settembre  41,  E.  from  21/2  fr.,  omn.  60  c.;  Hot.  du 
NoRD  (PI.  n;  1),  4),  Via  Roma  34,  R.  3  fr.,  very  fair;  Alb.  Roma  e  Rocca 
Cavour  (PI.  i;  D,  4),  Piazza  Carlo  Felice,  prettily  situated,  frequented  by 
French  tourists;  H6t.  de  France  et  de  la  Concorde  (PI.  k;  F,  3),  Via 
di  Po  20,  1'.  from  2'/2,  omn.  1  I'r.,  well  spoken  of:  Alb.  della  Zecca 
(PI.  0;  D.  4),  Via  Roma  36,  Dogana  Vecchia  (PI.  m;  D,  2),  Via  Corte 
d'Appello  4,  R.  2V2fr.,  omn.  60  c.,  Alb.-Ristobante  Savoia,  Corso  Vitt. 
Emanuele  66,  R.  from  IV2  fr.,  all  throe  unpretending.  —  Pens.  Pkenleloui", 
Via  Ospedale  5,  pens.  5-7  fr,  —  The  Orissini,  a  kind  of  bread  in  long,  thin, 
and  crisp  sticks,  are  a  speciality  of  the  place.  The  Piedmontese  wines 
have  a  high  repute  (comp.  p.  xxiii). 

Restaurants  (comp.  p.  xxi).  Ristorante  Molinari,  Via  Santa  Teresa,  at 
the  corner  of  the  Piazza  Solferino;  "Caffe-Jiistorante  Milano,  corner  of  the 
Piazza   Castello    and  Via   Barbaroux ;   '^Cafi-Iiestaurant  du    Cambio,   Piaz/.a 


28 


Route  7.  TURIN,  Practical  Notes. 


Carignano;  Btrreria  Voigt,  Via  Pietro  Micca  22,  in  the  Hot.  Fiorina  (see 
above),  much  frequented  ;  Trattoria  Meridiana,  Via  Santa  Teresa  6,  Galleria 
Natta  (Vienna  beer) ;  Posta,  Piazza  Carlo  Alberto  ;  Risiorante  delta  Zecca 
(see  p.  27),  Via  Roma  36,  very  fair.  —  Wine  Room.  Cantina  di  Savoia, 
Via  Cavour  2,  good  Piedmontese  vi'ines.  —  Vermouth  di  Torino  (famous), 
good  at  Carpano''s,  Piazza  Castello  18. 

Cafes  (comp.  p.  xxiii).  Alferi,  Via  di  Po  9;  deffli  SpeccM,  Via  Pietro 
Micca;  San  Carlo,  Piazza  Sau  Carlo,  lAgure,  Corso  Vitt.  Em.  II.,  near  the 
station  (at  both  concert  in  the  evening).  —  Confectioners.  Baratti  tt  Milano, 
Romana,  Piazza  Castello,  S.  side;  Slratia,  Piazza  San  Carlo  7.  Chocolate: 
Oiuliano,  Via  dell'  Accademia  delle  Scienze.  —  A  favourite  local  beverage  is 
Bicerin  (15  c),  a  mixture  of  coffee,  chocolate,  and  milk.  The  chocolate 
made  in  Turin  (Gianduia)  is  noted. 

Birrerie  (p.  xxiii).  Risiorante  del  Teatro  Alfieri,'FiliZza,  Solferino;  Caffi 
Piemonte,  at  the  station  (Munich  beer  at  these);  Borsa,  Via  dell'  Accademia 
delle  Scienze  2;  Pilsener  Urquell-,  Via  Geneva,  corner  of  Via  Jlonte  di  Pieta. 

Cabs  (Vetture,  Cittadine) :  per  drive  (corsa)  1  fr.,  at  night  (12-6  a.m.) 
1  fr.  20  c. ;  first  1/2  hr.  1  fr.,  first  hour  (era)  1  fr.  60  c,  each  following 
V2hr.  75  c.,  at  night  I1/2,  2,  and  1  fr.;  hand-luggage,  carried  inside,  free; 
each  trunk  20  c. 

Electric  Tramways  (fare  10  c,  transfer  15  c.)  traverse  the  streets  in 
many  different  directions  (comp.  Plan  and  p.  130).  The  chief  centres  are 
Piazza  Castello  (PI.  E,  2,  3),  Piazza  Emanuele  Filiberto  ('Porta  Palazzo'; 
PI.  D,  E,  1,  2),  Piazza  dello  Statute  (PI.  C,  2),  Piazza  San  Martino  (PI.  B,  2), 
Piazza  Solferino  (PI.  D,  3),  and  Piazza  Carlo  Felice  (PI.  D,  4). 

Post  Office  (PI.  46;  E,  3),  Via  Principe  Amedeo  10,  near  the  Piazza 
Carlo  Alberto.  A  new  building  in  the  Via  dell'  Arsenale  is  projected. 
Branch-Ol'fies  in  Via  Sacchi  (Gr.  Hot.  de  Turin),  Via  Barbaroux,  and  Piazza 
Solferino.     Telegraph  Office  (PI.  E,  3),  Piazza  Carlo  Alberto. 

Booksellers.  Carlo  Clausen,  Via  di  Po  11  (also  photographs);  Rosenberg 
d:  Sellier,  Via  Maria  Vittoria  18;  F.  Casanova  d:  Co.,  Piazza  Carignano; 
Lalies,  Via  Garibaldi  3.  —  Newspapebs:  Oazzetta  del  Popolo,  II  Momenta, 
La  Ktampa,  Oazzetta  di  Torino. 

Goods  Agents.  Fratelli  Gondrand,  Galleria  Nazionale  (p.  35).  —  CooVs 
Office.,  Via  Roma  31,  in  the  Hotel  Trombetta. 

Bankers.  Banca  Commerciale  Italiana,  Via  Santa  Teresa  9;  Pellegrini  tt 
Moris,  Piazza  Solferino  6;  De  Fernex  <k  Co.,  Via  Alfieri  15;  Kueter  &  Co., 
Via  deir  Arsenale  14. 

Physicians.  Br.  F.  Cotiti,  Corso  Oporto  30  (.speaks  English  and  French); 
Dr.  Bergesio,  Via  Melchior  Gioia  8  (speaks  French).  —  Dentists.  Martini, 
Via  Pietro  Micca  (speaks  English);  Qarelli,  Via  Roma  15.  —  Chemists. 
Foglino,  Via  Roma  27;  A.   Torre,  Via  di  Po  14. 

Baths.  La  Provvidenza,  Via  Venti  Settembre  7;  Bagni  Cavour,  Via 
Lagrange  22.     Bath  V/i-V/t  fr.,  with  fee  of  20  c.  : 

Military  Husic  in  front  of  the  royal  palace  every  afternoon  when  the 
guard  is  changed  (between  4  and  6  p.m.);  in  May  and  June  on  ^un.  in 
the  old  Piazza  d'Armi  about  6  p.m.,  during  the  Corso;  and  thrice  weekly 
8-10  p.m.  in  the  Giardino  Pubblico  (p.  40),  and  on  Sun.  2-4  in  the  Giardino 
Reale  (comp.  p.  31). 

Theatres  (comp.  p.  xxiv).  Teatro  Regio  (PI.  E,  3),  Piazza  Castello,  for 
operas  and  ballets,  with  seats  for  2500  persons,  generally  open  during  Lent 
and  the  Carnival  only  (admission  3  fr.,  reserved  seats  10  fr.);  Vittorio 
Emanuele  (PI.  52;  F,  3),  Via  Rossini  13,  for  operas,  ballets,  and  equestrian 
performances;  Carignano  (PI.  48;  E,  3),  in  the  Piazza  of  that  name,  for 
operas  and  dramas;  Alfieri  (PI.  47;  D,  3),  Piazza  Solferino ;  Balbo  (PI.  E,4), 
Via  Andrea  Uoria  15,  for  operettas.  —  Rossini  (PI.  50;  F,  3),  Via  di  Po  24, 
for  plays  in  the  Piedmontese  dialect,  etc.  —  Gianduia  (PI.  49;  E,  3),  Via 
Principe  Amedeo  24,  a  marionette-theatre.  —  Cafi  Romano,  Galleria  Subal- 
pina  (p.  30),  a  theatre  of  varieties,  with  a  separate  stage  for  summer  on 
the  Piazza  Castello. 

British  Vice -Consul,  Sahmtore  Gnattari.  —  American  Consul,  Pietro 
Cuneo,  Via  Andrea  Doria  12. 


History.  TURIN.  7.  Route.     29 

English  Church,  Via  Pio  Quinto  15,  behind  the  Teinpio  Valdese;  ser- 
vice at  10.30  a.m.  —  Protestant  Service  in  the  Tempio  Valdese  (PI.  D,  E, 
4,  5)  on  Sundays,  in  French  at  11,  in  Italian  at  3  o'clock.  —  C/iiesa  Meto- 
dittu  Episcopate,  Via  Lagrange  13  (Sun.  10  a.m.  and  Thur3.  10.30  a.m.).  — 
CAte.sa  Cris/iana  Evanyelica,  Galleria  Nazionale. 

Public  Collections,  etc.  (official  holidays,  see  p.  xxiv). 
Accndemia  Alberiina  di  Belle  Arti  (p.  39),  week-days  10-5 ;  fee  50  c. 
Accademia  delle  Scienze  {Museum   of  Antiquities  and  Picture  Gallery;  p.  32), 
week-days  10-4  (May-Oct.  9-4),   1  fr. ;    Sun.  and   holidays  1-4,    free.     On 
certain  holidays  open  in  the  morning  also. 
Armeria  Reale  {Armoury;   p.  31),   daily  11-3;    on   week-days    tickets   must 

be  obtained  (gratis)  at  the  I'fficio  della  Direzione,   on  the  staircase. 
Biblioteca  Nazionale  (p.  39),    daily   (except   Sun.)   in  summer  9-5  (Nov.  to 

April  9-4  and  7-10) ;  closed  in  September. 
Castello  Medioevale  (p.  40),  daily  9-12  and  2-6,  50  c. 
Mole  Antonelliana  (p.  30),  daily  7-5,  50  c. 

Monte  dei  Cappuccini  (Belvedere  of  (he  Italian  Alpine  Club;   p.  40),    Nov.  to 
Feb.  8-11.30  and  15,   May  to  Aug.  5-11.30  and  2-6;  at  other  times  6.80- 
11.30  and  16;  40c.,  Sun.  25c. 
Museo  Oiiico  {Arte  applicata  alV  Indi/stria  and  Belle  Arti;  pp.  39,  38),  week- 
days 9-4,  1  fr. ;  Tnea.,  Thurs.,  Sun.  and  holidays  i'2-4,  free. 
Museo  Industriale  Italiano  (p.  35),  Sun.  <fe  holidays  12.30-4,  free. 
Museo  Nazionale  d' Artigliera  (p.  38),  week-days  10-12  &  2-4,  Sun.  and  holi- 
days 10-12 ;  tickets  obtained  at  the  Direzione  dell'  Officina  di  Costruzione 
d'Artijjliera,  Via  dcU'  Arsenale  24. 
Museo  di  Storia  Naturale  (p.  32),  daily,  except  Mon.,  1-4,  free. 
Palazzo  Reale  (p.  30),  daily  9-4;  fee  1  fr. 
Reale  Pinocoteca,  see  Accademia  delle  Scienze. 

Principal  Attractions  (l-l'/z  day):  Armoury  (p.  31),  ''Picture  Gallery 
(p.  33)  and  Museum  of  Antiquities  (p.  32) ,  monuments  in  the  Cathedral 
(p.  36),  view  from  the  'Mole  Antonelliana  (p.  39),  from  the  Monte  dei 
Cappuccini  (p.  40),  or  from  the  "Superga  (p.  41).  —  Excursion  to  the  Sagra 
di  San  Michele  (p.  3). 

Turin  (785  ft.),  Ital.  Torino,  the  ancient  Taurasia,  capital  of 
the  Taurini ,  a  Ligurian-Celtic  tribe ,  destroyed  by  Hannibal  B.C. 
218,  afterwards  the  Roman  Augusta  Taurinorum,  was  the  capital 
of  the  County  of  Piedmont  in  the  middle  ages,  and  in  1418  became 
subject  to  the  Dukes  of  Savoy,  who  frequently  resided  here.  From 
1720  it  was  the  capital  of  the  Kingdom  of  Sardinia,  and  from  1859 
to  1865  of  Italy.  The  seat  of  a  university  (founded  in  1404),  of 
an  archbishop,  and  of  a  military  academy,  and  headquarters  of  the 
1st  Italian  army  corps,  this  great  city  lies  in  an  extensive  plain 
on  the  Po,  which  receives  the  waters  of  the  Dora  Riparia  below 
the  city.  The  plain  of  the  Po  is  bounded  on  the  W.  by  the  Graian 
and  Coition  Alps,  and  on  the  E.  by  the  Colli  Torinesi  rising  on  the 
right  bank  (Monte  dei  Cappuccini,  p.  40;  Superga,  p.  41).  Turin 
was  the  chief  centre  of  those  national  struggles  which  led  to  the 
unification  of  Italy.  The  removal  of  the  seat  of  government  to 
Florence  impaired  the  prosperity  of  the  citizens  for  a  time,  but 
they  have  long  since  recovered  their  losses.  The  rapidly  increasing 
population  now  numbers  about  350,000,  including  the  suburbs. 

Turin  is  conspicuous  among  the  cities  of  Italy  for  the  regularity  of 
its  construction.  Its  plan  presents  rectangular  blocks  of  houses  ( I  sole),  long, 
broad,  straight  streets  (  Vie)  ,  frequently  with  arcades  (Portici),  and  spacious 
squares,  usually  adorned  with  gardens  and  numerous  monuments.  Its 
history  explains  this.     The  plan  of  the  old  town,  with  slight  variations, 


30     Route  7.  TURIN.  Pia&i.a  Castello. 

is  the  same  as  that  of  the  colony  founded  by  the  Emperor  Augustus, 
or  even  of  an  older  Roman  camp.  It  formed  a  rectangle  of  2210  ft.  in 
length  and  1370  ft.  in  breadth,  and  had  eleven  towers  on  each  side.  Its 
site  is  now  bounded  by  the  Piazza  Castello  on  the  E.,  the  Via  della  Con- 
solata  and  the  Corso  Siccardi  on  the  W.,  the  Via  Giulio  on  the  N.,  and 
the  Via  Santa  Teresa  on  the  S.  The  ancient  Via  Decnmana  is  represented 
by  the  modern  Via  Garibaldi  and  the  Via  Principalis  by  the  Via  Porta 
Palatina  and  the  Via  San  Tommaso.  Besides  the  X.  main  gate,  or  Porta 
Principalis  Dextra  (now  the  Porta  Palatina,  p.  36),  fragments  still  remain 
of  the  E.  main  gate  (Porta  Decwnana,  see  below)  and  of  the  ancient  N.W. 
corner  tower,  beside  the  Consolata  (p.  37).  —  In  the  17th  cent,  a  system- 
atic extension  of  the  city  was  begun  in  accordance  with  the  original  plan. 
The  fortifications  constructed  by  Francis  I.  in  1536,  and  finally  the  siege 
of  1706  cleared  away  most  of  the  old  buildings  and  gave  the  town  its 
present  regular  and  modern  appearance.  The  fortifications  were  demol- 
ished in  1801  and  1857. 

The  spacious  Piazza  Castello  (PI.  E,  2,  3)  forms  the  centre 
of  the  town.  From  this  point  the  busiest  streets  diverge  :  Via  Roma, 
Via  Pietro  Micca,  Via  Oaribaldi,  Via  delV  Accademia  delle  Scienze, 
and  Via  di  Fo  (p.  38).  —  In  the  S.E.  angle  of  the  Piazza  Castello 
is  the  Oalleria  dell'  Industria  Subalpina  (PI.  19),  the  other  end  of 
which  is  in  the  Piazza  Carlo  Alberto  (p.  32). 

The  Palazzo  Madama  (PI.  E,  3),  a  lofty  and  cumbrous  pile  in 
the  centre  of  the  Piazza  Castello,  had  as  its  nucleus  a  mediaeval  castle 
built  on  the  site  of  the  Roman  Porta  Decumana  (see  above).  This 
Castrum  Portae  Phibellonae,  strongly  fortified  by  William  of  Mont- 
ferrat  towards  the  end  of  the  13th  cent.,  was  extended  on  the  E. 
side  and  protected  by  two  lofty  sixteen-sided  towers  in  1416 
by  Lodovico  d'Acaia.  Farther  alterations  were  made  by  Charles 
Emmanuel  II.,  but  the  building  owes  its  present  name  to  his  widow, 
Maria,  who  as  Dowager  Duchess  (^Madama  Reale^J  embellished  it 
in  1718  by  the  addition  of  a  handsome  double  flight  of  steps  and  the 
facade  on  the  W.  side,  from  a  design  by  Fil.  Juvara.  The  apart- 
ments on  the  first  floor,  which  were  redecorated  at  the  same  period, 
were  used  from  1848  to  1860  as  the  meeting-place  of  the  Sardinian 
Senate.  The  palace  now  contains  several  institutions,  including  the 
State  Archives  and  an  Observatory,  in  the  towers  concealed  by  the 
W.  facade.  —  In  front  of  it  stands  a  Monument  to  the  Sardinian 
Army  (PI.  28)  by  Vine.  Vela,  erected  by  the  Milanese  in  1859; 
on  the  S.  side  is  a  bronze  statue  of  the  electrician  Galileo  Ferraris 
(1847-97),  by  L.  Contratti  (1902). 

At  the  N.W.  corner  of  this  piazza  is  the  church  of  San  Lorenzo 
(PI.  E,  2),  by  Guarini  (1687),  with  a  peculiar  dome,  and  destitute 
of  facade.    The  interior  displays  an  exaggerated  baroque  style. 

On  the  N.  side  of  the  Piazza  Castello  rises  the  Palazzo  BealOf 
or  Royal  Palace  (PI.  E,  2),  a  plain  brick  edifice  begun  in  1646  under 
Charles  Emmanuel  11.  The  palace-yard  (a  public  thoroughfare)  is 
separated  from  the  Piazza  by  a  gate,  the  pillars  of  which  are  adorned 
with  two  groups  in  bronze  of  Castor  and  Pollux,  designed  by  Abbon- 
dio  Sangiorgio  in  1842.     To  the  left  in  the  hall  of  the  palace  (ad- 


Palazzo  Reale.  TURIN.  7.  Route.     31 

mission  free) ,  near  the  staircase ,  is  an  equestrian  statue  of  Duke 
Victor  Amadeus  I.  (d.  1637);  the  statue  is  of  bronze,  the  horse  in 
marble ;  below  the  latter  are  two  slaves.  The  handsome  staircase 
is  embellished  with  statues  of  Emmanuel  Philibert  by  Santo  Varni, 
and  Charles  Albert  by  Vine.   Vela. 

The  'Interior  (adm.,  see  p.  29;  we  begin  with  the  Sala  degli  Svizzeri) 
contains  a  series  of  handsome  apartments  with  ceiling-decorations  by 
Bellosio  (1844).  Daniel  Seiter  of  Vienna  (1690),  Claudia  Beaumont,  and  the 
brothers  Fea  (1660),  and  with  tapestry  made  at  Turia  (17-18th  cent.).  The 
private  apartments  of  Victor  Emmanuel  II.  are  not  shown. 

The  remains  of  a  Roman  Theatre  were  discovered  in  1899  in  the  base- 
ment (no  adm.). 

The  S.E.  wing  of  the  palace  contains  the  *  Royal  Armouby 
{^Armerfa  Reale ;  PI.  E,  2),  entered  from  the  arcade  of  the  Pre- 
fettura  (PI.  E,  2;  first  door  to  the  left);  admission,  see  p.  29.  The 
collection,  which  is  on  the  second  story,  is  very  choice.  Catalogue 
(1891)  3  fr. 

Room  I  (Rotonda).  To  the  right  are  Indian  weapons  and  gifts  of  honour 
to  Victor  Emmanuel  II.  Beyond  the  door:  scimitar  of  Tippoo  Sahib,  Sultan  of 
Mysore  (d.  1799);  two  suits  of  Saracenic  armour;  weapons  from  Abyssinia ; 
Japanese  weapons  and  armour;  models  of  modern  weapons;  Turkish  and 
Persian  weapons.  In  the  centre  of  the  room  are  a  bronze  statuette  of 
Napoleon  I.  (by  Marochetti),  a  sword  he  wore,  and  a  quadrant  he  used 
when  a  young  officer;  two  French  regimental  eagles;  gifts  of  honour  to 
King  Humbert;  memorials  of  the  Duke  of  Abruzzi's  Arctic  Expedition 
(1899-1900);  Moltkes  Italian  orders;  the  favourite  horse  of  Charles  Albert. 
Piedmontese  flags  from  the  wars  of  1848-49  and  1859  over  the  cabinets.  — 
The  long  Hall  (Oalleria  Beaumont)  contains  the  equestrian  armour  of 
Cardinal  Ascanio  Maria  Sforza  Visconti  (15th  cent);  on  the  right,  several 
suits  of  armour  worn  by  members  of  the  Brescian  family  of  Marlinengo 
(i6th  cent.);  campaign  suit  of  Prince  Eugene  (1706);  fire-arms;  shields, 
helmets,  daggers,  maces;  sword  attributed  to  Bonatello ,  and  another 
at  one  time  erroneously  attributed  to  Benvenuio  Cellini.  Under  glass ,  a 
shield,  embossed  with  scenes  from  the  war  of  Marius  against  Jugurtha. 
By  the  left  wall,  as  we  return  :  under  gla's,  so-called  sword  of  St.  Maurice 
(a  work  of  the  13th  cent);  adjacent,  an  ancient  rostrum  in  the  form  of 
a  boar's  head,  found  in  the  harbour  at  Genoa.  Farther  on  a  Turkish  suit 
of  equestrian  armour,  said  to  have  lielcmged  to  Mohammed  II ;  armour  of 
Duke  Emmanuel  Philibert,  Viceroy  of  Sicily  (early  17th  cent.);  prehistoric, 
Etruscan,  and  Roman  weapons ;  fine  helmets  and  shields  of  the  15-16th  cent. ; 
sword  of  the  Imperial  General  Johann  von  Werth  (d.  1652),  bearing  a 
German  inscription  in  verse.  —  The  windows  on  the  right  command  a 
fine  view  of  the  palace  garden  and  the  Superga  (p.  41). 

On  the  lloor  below  is  the  Royal  Library  (Biblioteca  del  Re)  of  70,000  vols, 
and  3(XK)  MSS  (shown  only  on  application  to  the  librarian),  containing 
valuable  geographical,  historical,  and  genealogical  works,  miniatures  of 
the  14-16th  cent.,  drawings  by  i«oj?rtrdo  da  Fmct  ("Portrait  of  himself),  Fra 
Bartolomeo,  Correggio,  Qaudemio  Ferrari,  etc.  —  A  staircase  ascends  hence 
to  the  Collection  of  Coins,  trinkets,  enamels,  carved  ivory,  etc.,  in  a  small 
room  adjoining  the  Armoury. 

The  Palace  Garden  ((r'/ardmo  Reale;  Pl.E,  F,  2),  entered  from 
the  arcade  opposite  the  Palazzo  Madama,  is  open  on  Sun,  and  festi- 
vals, between  Ist  July  and  1st  Oct.,  11-6  o'clock  (military  music; 
p.  28).    Fine  view  of  the  Superga.  —  Cathedral,  see  p.  36. 

In  the  Piazza  Carignano  ,  a  little  to  the  S.  of  the  Piazza 
Castello,  rises  the  Palazzo  Carignano  (PI.  41 ;  E,  8),  with  a  curious 
brick  facade,  erected  by  Quarini  in  1680.     Victor  Emmanuel  11. 


32     Route  7.  TURIN.  Academy. 

was  born  in  tTiis  palace.  The  Sardinian  Chamber  of  Deputies  met 
here  from  1848  to  1859,  and  the  Italian  Parliament  from  1861  to 
1864.  The  handsome  facade  at  the  back,  in  the  Piazza  Carlo  Alberto, 
was  added  in  1864-71  by  Ferri  and  Bollati. 

The  palace  contains  the  MnsEO  di  Storia  Natueale  (adm.,  see  p.  29). 
The  collection  is  divided  into  the  Geological  and  Comparalive  Anatomy 
Section  in  the  E.  wing  and  the  Zoological  and  Mineralogical  Section  in  the 
W.  wing.  The  palseontological  division  contains  a  fine  collection  of  fossil 
mollusca  from  the  tertiary  formations,  and  the  skeletons  of  a  gigantic 
armadillo  (  Glyplodon  Clavipes),  a  Tetralophodon  Arvernensis,  a  Megatherium 
Cuvieri,  and  other  antediluvian  animals. 

In  the  Piazza  Carignano  stands  the  marble  statue  of  the  philo- 
sopher and  patriot  Vincenzo  Oioberti  (1801-52),  by  Albertoni,  erected 
in  1859.  —  The  Piazza  Carlo  Albbrto  (PI.  E,  3)  contains  a  bronze 
monument  to  King  Charles  Albert,  designed  by  Marochetti  (1861). 

In  the  vicinity.  Via  dell'  Accademia  No.  4,  at  the  corner  of  the 
Piazza  Carignano,  is  the  Palazzo  dell'  Accademia  delle  Scienze 
(PI.  E,  3),  formerly  the  Jesuit  College,  erected  by  Guarini  in  1679. 
On  the  Ground  Floor,  to  the  right,  are  Egyptian,  Roman,  and  Greek 
sculptures  (key  kept  on  the  first  floor)  ;  on  the  First  Floor  smaller 
antiquities ;  on  the  Second  Floor  (98  steps)  the  picture-gallery. 
Admission,  see  p.  29. 

The  Museum  of  Antiquities  (Reale  Museo  delle  Antichita)  had  as  its 
nucleus  the  Egyptian  collection  founded  about  18'iO  by  Sern.  Brovetti. 
Director,  Prof.  Sehiaparelli.     No  catalogue. 

Rooms  I  and  II  on  the  groundfloor  contain  the  larger  Egyptian  anti- 
quities: large  sphinxes,  figures  of  idols  and  kings,  architectonic  fragments, 
models  of  temples,  and  plaster  casts.  The  finest  objects  are,  in  R.  I 
(Sala  di  Ramesse  II.):  large  capital  in  the  shape  of  a  wreath  of  lotus- 
flowers;  colossal  head  of  a  king  of  the  Early  Empire;  two  statues  of 
Amenophis  II.,  and  a  diorite  *  Statue  of  Ramses  II.  (Sesostiia);  in  R.  II 
(Sala  di  Tutmosi  III):  colossal  statues  of  Kings  Thutmosis  lU.  and  Horem- 
heb.  —  We  novir  enter  the  Galleky,  to  the  left.  1st  Section:  Grseco- 
Boman  sculptures  found  in  Egypt  and  Rome.  Amazon  (in  green  basalt; 
freely  restored);  fragment  of  a  fine  relief  (youth  in  a  chariot  with  four 
horses),  probably  a  Greek  work.  In  this  section  are  also  cinerary  urns 
and  other  Etruscan  antiquities  from  Luna  (p.  119).  2nd  Section.  Remains 
of  a  Roman  mosaic  (myth  of  Orpheus)  and  inscriptions  found  in  Pied- 
mont.    3rd  Section :  Roman  inscriptions  and  arcbitectnral  fragments. 

The  Egyptian  collections  are  continued  on  the  First  Flooe.  In  the 
J«<  iJoom  (Sala  delle  Mummie)  are  mummy-coffins,  mummies,  mummy 
wrappings,  cannpi,  scarabsei,  amulets,  etc.  Among  the  papyri  is  a  'Book 
of  the  Dead',  edited  by  Lepsius.  In  the  centre  are  the  mummy  of  a  priest 
and  the  coffin  of  a  scribe,  bearing  hieratic  inscriptions  from  the  Book  of 
the  Dead.  —  The  2nd  Room  (Sala  del  Papiro  Regio)  contains  reliefs  and 
inscriptions,  from  the  5th  Dynasty  down  to  the  Roman  period;  statuettes 
of  the  Early  Empire,  the  Middle  Empire,  and  the  New  Emiiire.  In  the 
centre,  in  a  case  resembling  an  Egyptian  house,  are  papyri  of  the 
20th  Dynasty.  Fragments  from  the  archives  of  a  temple  in  the  Necropolis 
of  Thebes.  The  desk-cases  contain  a  celebrated  list  of  the  kings  of  Egypt 
down  to  the  19th  dynasty,  discovered  by  Champollion ;  remains  of  topo- 
graphical plans  of  Egyptian  gold-mines;  a  papyrus  with  caricatures,  etc.  — 
Adjoining  is  a  small  room  containing  Cyprian  antiquities.  —  From  R.  1  we 
enter  Gallery  I,  to  the  left.  To  the  right  and  in  the  centre  are  figures  of 
Egyptian  deities,  amulets,  articles  used  in  worship;  domestic  utensils, 
vases,  textile  fabrics,  toilet-articles,  weapons,  sandals,  etc.  In  the  centre 
is  the  Tabula  Isiaca  found  in  the  pontificate  of  Paul  III.,  and  a  "Statuette 


Academy.  TURIN.  7.  Route.     33 

of  a  girl  (Nofrit),  of  the  period  of  the  New  Empire.  To  tlie  left  are  Egyp'ian 
antiquities  of  the  Hellenistic,  Roman,  early-Christian,  and  Arab  periods.  — 
Galhry  2.  To  the  right  and  in  the  centre,  prehistoric  antiquities  from 
Egypt  (before  the  3oth  cent.  B.C.);  to  the  left,  prehistoric  and  eihuo- 
graphical  collections  from  the  Congo;  weafons  and  utensils  from  Somali- 
land.  —  Room  3.  Prehistoric  collection  from  Piedmont;  ca.sts  of  the  reliefs 
of  the  triumphal  arch  at  Susa  (p.  44).  In  the  centre,  model  of  the  largest 
'Niirago'  in  Sardinia.  —  Room  4.  Roman  and  Celtic  antiquiiies  found  in 
Piedmont.  Amongst  the  former  are  some  fine  glass  and  g^'Od  bronzes  (a 
Silenus;  Athena  of  the  type  of  the  Parthenos  of  Phidias;  Roman  portrtit- 
bust  of  a  member  of  the  Ciens  Claudia).  —  Room  5.  (to  the  left  of  Gallery  2). 
In  the  1st  section  are  Egyptian  textiles  of  the  Christian  and  Arab  periods 
(including  Coptic  fabrics).  '2nd  Sec.  (antiquitirs) :  Greek  and  Roman  sta- 
tuettes and  utensils  in  bronze,  Greek  and  Etruscan  vases,  pre-Roman 
glass  and  bronzes  from  Sai'dinia,  Greek  and  Roman  coins.  In  the  centre. 
Statue  of  Cupid  by  Michael  Angela  (?).  3rd  Sec. :  Ethnographical  collections 
from  America,  the  Fiji  Islands,  etc. 

The  *Picture  Gallery  ( Pinacoteca)  embraces  21  rooms,  coutain- 
ing  over  600  paintings.  Director,  At.  Baudi  di  Vesme.  Good 
illustrated  catalogue  (1899),  4  fr.  —  The  art- collections  of  the 
House  of  Savoy  were  founded  by  Charles  Emmanuel  I.  (1580-1630) 
and  were  largely  increased  in  1741  by  the  purchase  of  Prince 
Eugene's  valuable  gallery,  which  included  many  Netherlandish 
works.  A  number  of  the  paintings  carried  off  by  the  French  in 
1798  remained  in  Paris  after  the  conclusion  of  peace  in  1815;  and 
in  1831,  the  rest,  which  had  meantime  been  scattered  through 
various  palaces,  were  collected  to  form  a  public  gallery  in  the 
Palazzo  Madama.   They  were  transferred  to  the  Academy  in  1865. 

This  collection  is  important  for  the  study  of  Macrino  d'Alba 
(1470-1528)  and  his  pupil  Defendente  de  Ferrari  (1470-1532),  and 
of  Gaudenzio  Ferrari  (c.  1471-1546),  who  was  inspired  by  Leon, 
da  Vinci  and  influenced  by  Perugino  (Nos.  46  and  51).  Sodoma 
(c.  1477-1549),  who  originally  belonged  to  the  Lombard  school,  is 
well  represented.  Lorenzo  di  Credi's  (1459-1537) Madonna,  No.  115, 
of  his  best  period,  shows  that  he  was  influenced  by  Leon,  da  Vinci. 
Among  numerous  and  important  works  of  the  old  Netherlandish 
school  are:  188.  Petrus  Cristus;  202.  Memling;  17,  264,  279,  288. 
by  Van  Dyck;  231,  261.  Genre-pictures  by  D.  Teniers  the  Younger; 
393.  Rembrandt's  Old  man  asleep. 

I.  Room.  Princes  of  the  House  of  Savoy:  1.  Horace  Vernet ,  King 
Charles  Albert ;  6.  J.  van  Schuppen,  Prince  Eugene ;  12.  iV.  Mignard,  Francoise 
d'Orleans,  first  wife  of  Charles  Emmanuel  II. ;  "17.  Van  Dyck,  Prince 
Thomas  (16,^4). 

II.  Room.  Chiefly  Piedmontcse  masters  of  the  14-16th  cent. :  21.  Barnaha 
da  Modena.  Madonna  (1370);  Macrino  d  Alba,  23.  St.  Francis  receiving  the 
stigmata  (1506),  '26.  Madonna  with  SS.  John  the  Baptist,  James,  Hugh, 
and  Jerome  (the  painter's  masterpiece;  1498),  31,  33.  Altar-wings  with 
St.  Louis  of  Toulouse  and  SS.  Peter,  Paul,  and  Bonaventura  (?);  between 
these,  29bi3.  Oiov.  Mart.  Spanzotli,  Madonna  enthroned ;  De/endente  de  Ferrari, 
36.  Betrothal  of  St.  Catharine,  36.  Madonna  with  SS.  Michael  and  Bartara 
(on  the  predella  of  the  ancient  frame,  the  Legend  of  St.  Barbara),  33.  Saints. 

III.  Room.  Gaudemio  Ferrari,  43.  Visitation,  '46.  St.  Peter  and  donor, 
48.  Joachim  driven  from  the  Temple,  49.  Madonna  enthroned  and  two 
saints,  50.  CruciOxi(  n  (in  distemper),  51.  Pieta. 

Bakukiskk.    Italy  I.     13th  Edit.  3 


34     Route  7.  TURIN.  Academy. 

IV.  Room.  Sodoma,  56.  Holy  Family,  59.  Lucretia,  '63.  Madonna 
enllironed  with  SS.  Jerome,  John  the  Evangelist,  Lncia,  and  Catharine. 

V.  Room.     Piedraontese  masters  of  the  17th  and  18th  centuries. 

VI.  Room.  Tuscan  School  (15-16th  cent.):  1U3,  101,  Fra  AngeUco  da 
Fiesole,  Adoring  angels ;  106.  Style  of  Sandro  Botticelli,  Triumph  of  Chastity  ; 
110.  Botticelli,  Madonna;  112.  Franciahigio,  Annunciation;  "115,  116.  Lor.  di 
Credi,  Madonna"! ;  117.  Fiero  Follaiiiolo,  Tobias  and  the  archangel  Raphael ; 
122,  123.  Ang.  Bromijio,  Kleonora  da  Toledo  and  he;-  husband  Cosimo  I.  of 
Medici;  Bctld.  Peruzzi,  129.  Head,  131.  Design  of  a  facade  (drawing). 

VII.  Room.  Various  Italian  Schools  (15-16th  cent.):  Ambrog.  Borgognone, 
134.  St.  Ambrose  preaching  and  consecration  of  St.  Augustine,  135.  Madonna; 
above,  140.  Oianpietrino ,  SS.  Catharine  and  Peter  Martyr;  141.  Paolo  da 
Brescia,  Madonna  and  four  saints  (triptych,  1459);  145.  Mici Raphael,  Por- 
triiit  ot  Pope  Julius  II.  (p.  492);  '146.  'Raphael,  Madonna  della  Tenda  (a 
very  fine  picture,  but  the  original  is  at  Munich);  148.  Franc.  Penni,  Good 
copy  of  Eaphaers  Entombment  in  the  Borghese  Gallery  at  Rome  (1518); 
149.  GiuUo  Clorno,  'II  Santissimo  Sudario'  (comp.  p.  30);  157.  Giov.  Bellini, 
Madonna  (ruined  by  retouching;);  155.  Franc.  Francia,  Entombment  (1515); 
161.  Titian,  St.  Jerome  (a  late  work;  injured);  162.  Gregorio  Schiavone, 
Madonna;  164.  Mantegna,  Madonna  and  saints  (much  retouched);  166.  After 
Titian,  Pope  Paul  III.  (original  at  Naples).  —  The  Ante-Room  and  Room  IX 
contain  a  collection  of  drawings,  engravings,  and  v.'oodcuts  by  old  masters 
(changed  from  time  to  time). 

VIII.  K'JOM.  167.  i^esfdeno  (7a  (SeH/^nrmo,  Madonna  (marble  relief);  168. 
Studio  of  the  Della  Robbia,  Adoration  of  the  Infant  Saviour  (terracotta 
relief).  —  169-186.  Porcelain-paintings  by  A.  Constantin  of  Geneva  (chiefly 
copies   of  famous  pictures  ;   c.  182')).   —  We  pass  through  R.  IX  to  the  — 

X.  Room.  Netherlandish  Schools  (15-17tb  cent.);  '187.  Jan  van  Et/ck(1), 
St.  Francis  receiving  the  stigmata;  188.  Petrvs  Cristus,  Madonna;  "189,  190. 
Rogier  van  der  }yetjden.  Visitation,  with  portrait  of  the  donor  (retouched); 
192.  Flemish  Master  of  the  Female  Half-figures,  Crucifixion  (triptych);  "202. 
H.  Memling,  The  Passion,  a  chronological  representation  in  tlie  popular  style 
of  the  North  (ia  the  foreground  excellent  portraits  of  the  dou^r  and  his 
wife);  218.  Teniers  the  Younger,  The  painter's  wife;  223.  Ant.  Sallaert,  Pro- 
cession in  Brussels  ;  231.  Teniers,  Tavern-scene ;  234.  JanBrueghel,  Landscape. 

XI.  Room.  Dutch  Schdol  (17th  cent.):  261.  Teniers,  Card-players;  *264. 
Van  Dyck,  Children  of  Charles  I.  of  England  (1635) ;  274.  Rubens,  Sketch 
of  his  apotheosis  of  Henri  IV  in  the  Vfiizi  (p.  495);  Van  Dyck,  '279.  Infanta 
Isabella  of  Spain,  2:?8.  Holy  Family  (showing  (hs  ialluence  ofTi'ian);  292. 
Fyt,  Still-life;  29B.  S?iyders,  Fruit. 

XII.  Room.  German  and  Spanish  Schools.  303.  II.  Holbein  the  Younger, 
Portrait  of  Erasmus  (a  copy  of  the  original  in  Parma);  313,  3l8.  Angelica 
Kauffmann ,  Sibyls;  between  these,  315.  Netscher,  Scissors-grinder  (1662); 
"320.   Velazquez,  Philip  IV.  of  Spain;  322.  Ribera,  St.  Jerome. 

XIII.  Room.  French  School  (17-18th  cent.):  330.  A'.  Poussin,  St.  Mar- 
garet; 338.  P.  Mignard,  Louis  XIV.  on  horseback;  343,  346.  Claude  Lorrain, 
Landscapes;  350.  F.  Desportes,  Siill-life;  352.  Bourguignon,  Battle  against 
the  Turks;  360.  Mms.  Vigie-Lebrun,  Portrait  (1792). 

XIV.  Room.  Netherlandish  Schools  (16-1 7th  cent.):  332.  Engelbrechtsen, 
Crucifi.Nion  (triptych);  G.  Dou,  375.  Portrait  of  a  geographer,  377.  Girl  at  a 
window  (lli(i'i) ;  379.  Frans  van  Mieris  the  Elder,  Portrait  of  himself  (1659) ; 
392.  B.  Fabritiiis,  Expulsion  of  Hagar  (1655);  *393.  Rembrandt,  Old  man 
asleep,  resembling  the  artist's  father  (an  early  work,  ca.  1629);  395.  Mytens 
and  Steenwyck,  Charles  I.  of  England  (1627);  Philips  Wouverman,  402.  Battle, 
404.  Horse-market ;  406.  Paul  Potter,  Cattle  (1649) ;  *412.  Saenredam,  Synagogue, 
the  figures  by  A.  van  Ostade;  419,  420.  /.  D.  de  Eeem,  Fruit  and  flowers. 

XV.  Room.  Landscapes  of  the  Dutch  school,  etc.;  at  the  exit,  444. 
/.  van  Rvysdael,  Landscape. 

XVI.  Room.  Italian  Schools  (17th  cent.):  464.  GiuUo  Cesare  Procaccini 
(here  attributed  to  Giov.  Batiista  Crespi),  SS.  Francis  and  Carlo  Borromeo 
adoring  the  Madonna;  *4G5.  Caravaggio,  Lute-player;  474.  Sassoferrato, 
Madonna;  478.  Carlo  Dolci,  Madonna;  479.  Carlo  Maratta,  Archangel  Gabriel; 
482.  Sassoferrato,  Madonna  dellaRosa;  above,  477,483.  G.  Poussin,  Landscapes. 


Via  Roma.  TURIN.  7.  Route.    35 

XVII.  Room.  491.  Guercino,  St.  Francesca  Romana;  492,  493.  Albani, 
Salmacis  and  the  Hermaphrodite;  4913.  Guido  Eeni,  Putti;  497.  Guercino, 
Return  of  the  Prodigal  Son;  501.  Givs.  Maria  Crespi,  St.  Nepomuk  in  the 
confessional;  50i.  Elisahetia  Sirani  (?),  Death  of  Abel.  —  In  the  corners; 
489,  495,  500,  509.  Franc.  Albani,  The  four  Elemenls. 

XVIII.  Room.    534.  Guercino,  Ecce  Homo ;  548.  Strozzi  (?),  Komer. 

XIX.  Room.  Chiefly  Venetian  Schools  (llj-lir^th  cent.):  51)4.  Paolo  Vero- 
nese, Danae  ;  5G7.  Ant.  Badile  (master  of  P.  Veronese),  Presentation  in  the 
Temple;  512.  P.  Veronese.  The  t^ueen  of  Shcba  before  Solomon;  5^3.  Oiro- 
lamo  Savoldo,  Holy  Family ;  575.  School  of  P.  Veronese,  Finding  of  Moses. 

XX.  Room.  *580.  P.  Veronese,  Mary  Magdalen  washing  the  Saviour's 
feet;  582,  585.  Bern.  Belotto,  Views  of  Turin  ;  587.  Jcic.  Bassano,  Cupid  at 
the  forge  of  Vulcan;  590.  Canaletto,  Piazzetta  in  Venice;  594.  Giov.  Bait. 
Tiepolo,  Triumph  of  Germanicus. 

XXI.  Room.     Battles  of  Prince  Eugene,  by  Euchtenbtirgh  and  others. 
Opposite  the  Academy,  to  the  E.,   is  the  large  church  of  San 

Filippo  (PI.  9;  E,  3),  erected  by  Guarini  in  1679,  and  restored  hy 
Juvara  in  1714.  The  portico  in  front  is  a  later  addition.  The  church 
contains  pictures  hy  Guercino  and  others. 

The  spacious  Piazza  San  Carlo  (PI.  D,  E,  3")  is  emhellished 
with  an  equestrian  *Statue  of  Duke  Emmanuel  Philibert,  in  bronze, 
designed  by  Marochetti  (1838\  The  relief  on  the  W.  side  represents 
the  Battle  of  St.  Quentin  (1557) ;  that  on  the  E.  side  the  Peace 
of  Cateau-Cambre'sis  (1559),  by  which  the  duchy  of  Piedmont  was 
restored  to  the  House  of  Savoy ;  the  duke  as  ^pacem  reddihirus'  is 
in  the  act  of  sheathing  his  sword.  ■ —  The  two  churches  on  the  S.  side 
of  the  piazza  are  San  Casio  and  Sant.\  Ceistina,  both  founded  at 
the  beginning  of  the  17th  cent.,  with  facades  of  later  date:  that  of 
S.  Cristina  by  Juvara  (1718),  that  of  S.  Carlo  by  Grassi  (1836). 
S.  Carlo  contains  a  monument  of  the  condottiere  Francesco  Maria 
Broglia  and  a  high-altar-piece  by  Morazzone. 

The  Via  Roma  leads  from  the  Piazza  San  Carlo  to  the  N.  to  the 
Piazza  Castello  (p.  30"),  and  to  the  S.,  passing  the  Galleria  Nazionale 
(PL  D,  4),  built  in  1889,  to  the  Piazza  Carlo  Felice  (p.  38)  and  the 
central  railway-station ;  to  the  E.  the  Via  Maria  Vittoria,  with  the 
Pal.  della  Cisterna  (PI.  44,  E  3;  at  the  corner  of  the  Via  Carlo  Al- 
berto), the  residence  of  the  Duke  of  Aosta,  leads  to  the  Piazza  Carlo 
Emanuele  Secondo  (see  below).  —  No.  32  in  the  Via  dell'  Ospedale 
is  the  Museo  Industriale  Italiano  (PI.  39,  E  4;  adm.,  see  p.  29). 

The  AicoLA  Ealbo  (PI.  E,  4),  close  by,  is  adorned  with  a  monument 
to  Daniele  Manin  (comp.  p.  '290),  by  Vela,  and  with  marble  statues  of  Cesare 
Balbo  (1789-1853),  the  minister  and  historian,  by  Vela,  and  of  the  Pied- 
montese  general  Bava,  by  Albertoni.  —  To  the  N.E.  are  the  grounds  of  the 
Pia/.za  Cavour  (PI.  E,  F,  4),  with  a  statue  of  the  general  and  statesman 
Count  liobilant  (1826-88).  —  Farther  on,  in  the  direction  of  the  Piazza  Maria 
Teresa  (PI.  F,  4),  is  a  monument  to  Gen.  Guglielmo  Pepe  (d.  li-53),  the  gallant 
defender  of  Venice  in  1849.  —  A  few  paces  to  the  S.,  in  the  Via  Mazzini, 
st;inds  the  domed  church  of  San  Kassimo  (PI.  E,  4),  built  in  1845-54  by 
C.  Sada.     The  interior  contains  good  modern  frescoes. 

The  Piaiza  Bodoni  (PI.  E,  4),  to  the  S.W.  of  the  Aiuola  Balbo,  is  adorned 
with  an  equestrian  statue  of  General  Alfonso  Lamarmora  (d.  1878),  well 
known  from  the  Crimea  and  the  wars  of  1859  and  186G. 

In  the  centre  of  the  Piazza  Carlo  Emanublk  Secondo  (PI.  E,  3, 4), 
commonly  called  the  'Piazza  Carlina',   rises  the  imposing  marble 


36     Route  7.  TURIN.  Northern 

Monument  of  Cavour,  by  Oiov.  Dwpre,  erected  in  1873.  Grateful 
Italy  presents  the  civic  crown  to  the  creator  of  Italian  unity,  who  holds 
a  scroll  in  his  left  hand  with  the  famous  words  'libera  chiesa  in  libero 
stato'.  —  A  tablet  at  Via  Cavour,  No.  8,  marks  the  house  (PI.  D,  4) 
in  which  Count  Camillo  Cavour  (1810-61)  was  born. 


Adjoining  the  Pal.  Reale  (p.  30)  on  the  N.W.,  in  Via  Venti  Set- 
tembre,  is  the  Cathedral  {San  Giovanni  Battista;  PL  E,  2),  erected 
on  the  site  of  three  earlier  churches  in  1492-9S  by  Meo  del  Caprina  of 
Florence,  in  the  Renaissance  style.  The  upper  part  of  the  tower 
dates  from  1648. 

The  Interior  consists  of  nave,  aisles,  and  transept,  with  an  octagonal 
dome.  Over  the  W.  portal  is  a  copy  of  Leon,  da  Vinci's  Last  Supper 
(p.  154).  Over  the  second  altar  on  the  right  is  an  altar-piece  (Madonna 
and  saints)  by  Dcfendente  de  Ferrari  (restored  in  1899).  Frescoes  on  the  ceil- 
ing modern.    The  seats  of  the  royal  family  are  to  the  left  of  the  high-altar. 

Behind  the  high-altar  is  the  Cappella  del  Santissimo  Sudario  or  della 
Santissima  Sindone  (open  during  morning  mass  till  9  o'clock ;  reached  by 
37  steps  to  the  right  of  the  high-altar) ,  constructed  in  1694  by  Quarini. 
It  is  a  lofty  circular  chapel  of  dark  brown  marble,  contrasting  strongly 
with  the  white  monuments,  separated  from  the  choir  by  a  glass  partition, 
and  covered  with  a  curiously  shaped  dome.  The  monuments  were  erected 
by  King  Charles  Albert  in  18.12  to  the  memory  of  illustrious  members  of 
his  family:  (r.)  Emmanuel  Philibert  (d.  1580),  'restitntor  imperii',  by  Pompeo 
Marchesi;  Prince  Thomas  (d.  1656),  'qui' magno  animo  italicam  libertatem 
armis  adseruit  nee  prins  dimicare  destitit  quam  vivere',  by  Gaggini;  Charles 
Emmanuel  II.  (d.  1675),  by  Fraccaroli;  Amadeus  711 1,  (d.  1461),  by  Cac- 
ciatori.  The  peculiar  light  from  above  enhances  the  effect.  In  a  kind 
of  urn  over  the  altar  is  preserved  the  Santissimo  Sudario  or  Santissima 
Sindone,  a  part  of  the  linen  cloth  in  which  the  body  of  the  Saviour  is 
said  to  have  been  wrapped.  This  was  brought  from  Cyprus  to  Chambe'ry 
in  1452  and  since  1578  has  been  preserved  at  Turin. 

From  the  Piazza  San  Giovanni  the  Via  Quattro  Marzo  leads  to 
the  W.  to  the  Palazzo  dl  Citta  (see  below).  —  Behind  a  railing 
on  the  right  in  the  Via  Venti  Settembre  are  some  remnants  of  the 
Roman  Town  Wall.  Farther  on  we  turn  to  the  left  and  reach  the 
Porta  Palatina,  or  Palazzo  delle  Torri  (PI.  E,  2 ;  p.  29),  a  Roman 
gateway  with  two  sixteen-sided  brick  towers,  restored  and  exposed 
to  view  in  1905.  —  At  the  S.  end  of  the  Via  Porta  Palatina,  to 
the  right,  is  the  church  of  Corpus  Domini  (PL  D,  E,  2),  erected 
in  1610  by  Ascanio  Vittozzi,  on  the  site  of  a  chapel  built  to  com- 
memorate a  miracle  of  the  Host  (1521).  The  interior  was  altered  in 
1763.  —  In  the  adjacent  church  of  Santo  Spirito,  dating  from  1610 
and  restored  in  1743,  Rousseau,  an  exile  from  (jeneva,  at  the  age 
of  16,  became  a  Roman  Catholic  in  1728,  but  he  again  professed 
Calvinism  at  Geneva  in  1754. 

The  Piazza  del  Palazzo  di  Citta,  a  few  paces  to  the  W.,  is  adorn- 
ed with  a  monument  to  Amadeus  VI.  (PL  21),  the  'Conte  Verde' 
(d.  1383 ;  p.  26),  conqueror  of  the  Turks  and  restorer  of  the  imperial 
throne  of  Greece  (d.  1383),  a  bronze  group  by  Palagi  (1853). 

The  Palazzo  di  Citt^  (PL  D,  2),  or  town-hall,  was  erected  by 
Lanfranchi  in  1669.    The  marble  statues  beside  the  entrance  of  (l.j 


Quarters.  TURIN.  7.  Route.     37 

Prince  Eugene  (d.  1736;  by  Simonetta)  and  (r.)  Prince  Ferdinand 
(d.  1855;  by  Dini),  Duke  of  Genoa  and  brother  of  Victor  Emman- 
uel XL,  were  erected  in  1858  ;  that  of  King  Charles  Albert  (d.  1849), 
by  Cauda,  in  the  colonnade  to  the  left,  was  erected  in  1859;  that  of 
King  Victor  Emmanuel  II.  (d.  1878),  by  Vela,  to  the  right,  in  1860. 
The  first  floor  contains  the  Bibiioteca  Civica. 

The  Via  Milano  leads  hence  to  the  N.  to  the  church  of  San  Do- 
menico  (PI.  8,  D  2;  founded  in  1354  and  frequently  restored), 
which  contains  a  Madonna  and  St.  Dominic  by  Guercino;  and  the 
Via  Corte  d'Appello  to  the  W.  to  Piazza  Savoia  (PI.  D,  2),  in 
which  rises  an  obelisk,  75  ft.  in  height,  commemorating  the  aboli- 
tion of  ecclesiastical  jurisdiction  by  the  minister  Siccardi  in  1850. 
—  A  few  yards  to  the  "W.,  in  the  Via  del  Carmine,  is  the  Chiesa 
del  Carmine  (VI.  1 ;  C,  D,  2),  designed  by  Juvara  (modern  facade). 

The  Via  della  Consolata  leads  from  the  Piazza  Savoia  to  the  N. 
to  the  church  of  La  Consolata,  At  the  S.  end  of  this  street  (No.  1) 
is  the  Palazzo  Paesana  (PI.  45;  D,  2),  built  in  the  18th  cent,  by 
Planter!,  a  pupil  of  Juvara,  with  an  imposing  vestibule  and  staircase. 

La  Consolata  (PI.  2;  D,  2),  formed  by  the  union  of  two  churches, 
is  a  building  in  the  baroque  style,  erected  by  Guarini  in  1679,  de- 
corated by  Juvara  in  1714,  and  sumptuously  rebuilt  in  1903-4.  The 
oval  church  of  Sant^  Andrea  is  adjoined  by  a  Campanile  (10th  cent.?), 
a  relic  of  the  convent  of  Sant'  Andrea,  and  opens,  on  the  right,  on 
a  new  chapel,  containing  a  highly-revered  image  of  the  Madonna. 
Adjoining  is  the  hexagonal  Santuario  della  Consolata,  with  several 
circular  side-chapels.  A  new  chapel  to  the  left  contains  kneeling 
statues  in  marble  of  Maria  Theresa,  Queen  of  Charles  Albert,  and 
Maria  Adelaide,  Queen  of  Victor  Emmanuel  II.  (both  of  whom  died 
in  1855),  by  Vela,  erected  in  1861. 


From  the  Piazza  Castello  (p.  30)  the  narrow  Via  Garibaldi  loads 
to  the  Piazza  dello  Stattjto  (PI.  C,  2),  with  the  huge  Mont  Cenis 
Tunnel  Monument,  by  Tabacchi  (1879):  tlie  Genius  of  Science  soars 
above  a  pile  of  granite  rocks,  on  which  lie  the  stupefied  and  con- 
quered giants  of  the  mountain.  On  a  tablet  are  the  names  of  the 
engineers. 

From  the  Via  Garibaldi  we  proceed  to  the  S.  by  the  Corse  Sic- 
cardi to  the  Giardino  della  Cittadella  (PI.  C,  D,  2),  with  statues  of 
Brofferio  (1802-66),  poet  and  radical  politician,  and  the  jurist  G. 
B.  Cassinis. 

Outside  the  MascMo  della  Cittadella  (PI. 20;  0,  3),  the  former 
entrance  to  the  citadel  (erected  in  1565  and  nearly  all  pulled  down 
in  1857),  is  a  monument  in  memory  of  Pietro  Micca,  the  heroic 
'soldato  minatorc',  who  at  the  sacrifice  of  his  own  life  saved  the 
citadel  of  Turin,  on  30th  Aug.,  1706,  by  springing  a  mine  when  the 
French  grenadiers  had  already  advanced  to  the  very  gates.    The  in- 


38     Route  7.  TURIN.      Norih-Western  Quarters. 

terior  accommodates  the  Museo  Nazionale  d'Arliglieria,  a  collection 
of  weapons  of  all  periods,  comprising  pieces  of  ordnance  from  the 
14th  cent,  to  the  present  day;  adm.  see  p.  29). 

In  the  pretty  grounds  of  the  ViA  della  Cernaia,  to  the  E.  of  the 
citailel,  rises  the  statue  of  General  Alessandro  Lamarmora  (d.  1855  in  the 
Crimea),  who  founded  the  Bersa^lieri  in  1836. 

In  the  Piazza  Solferin'O  (PI.  D,  3)  ri^es  an  equestrian  statue  of  Duke 
Ferdinand  of  Genoa  (p.  37),  by  Bal/.ico  (1877);  the  duke  is  represented  as 
commander  at  the  battle  of  Novara  (p.  67),  with  his  liorse  mortally  wonnded. 
The  gardens  of  the  piazza  contain  monuments  of  General  Qerhaix  de  Sonnaz 
(d.  1867),  by  Dini,  and  the  historian  Giuseppe  La  Farina  (d.  1863),  by  Auteri. 

—  To  the  S.K.  of  the  Piaz/a  Solferino,  in  the  Via  delT  Arsenale,  stands 
the  Artillery  Arsenal  (PI.  D,  3,  4),  founded  in  1659. 

Farther  on  the  Corso  Siccardi  intersects  the  Piazza  Vittorio 
Emanuele  Secondo  (pi.  C,  4),  in  which  was  unveiled  in  1899  the 
Monument  of  Victor  Emmanuel  II.,  by  P.  Costa  (d.  1901).  The  base 
is  surmounted  by  four  Doric  columns  of  red  Baveno  granite,  sup- 
porting a  colossal  statue  of  the  king.  The  total  height  of  the 
monument  is  125  ft. 

To  the  S.  of  the  Piazza,  Corso  Siccardi  30,  is  the  Museo  Civico 
di  Belle  Arti  (PI.  B,  C,  4;  adm.,  see  p.  29). 

In  the  vestibule,  sculptures  of  the  19th  cent.  :  in  the  central  row  to 
the  right,  Canora,  Siippho;  Vela,  Dante;  FantacchioUi,  Eve;  Emilio  Fran- 
cescM,  Crucifixion  of  Eulalia,  extremely  realistic  (1880);  Ei.  Ximenes,  The 
Kiss  of  Judas  (bronze;  18"'4).    Eight  rooms  contain  modern  Italian  paintings. 

—  On  the  upper  floor,  reached  from  Room  VIII,  is  the  Mttseo  del  Risorgi- 
mento,  with  battle-piece.';  and  memorials  of  Charles  Albert,  Victor  Em- 
manuel II..  Humbert,  Cavour,  and  Massimo  d'Azeglio. 

The  broad  Conso  Vittorio  Emanuele  Secondo  (PI.  A-E,  3,  4~), 
intersecting  the  entire  town,  leads  to  the  Giardino  Fubblico  (p.  40) 
and  the  Ponte  IJmherto  Prima  (p.  40).  In  the  middle,  in  front 
of  the  Central  Station  (p.  27),  to  the  left,  extends  the  Piazza  Carlo 
Felice  (PI.  D,  4),  with  its  tasteful  gardens,  adorned  with  a  bronze 
statue  of  Massimo  d'Azeglio,  patriot,  poet,  and  painter  (1798-1866), 
by  Balzico,  erected  in  1873.  This  piazza  is  adjoined  by  two  smaller 
ones,  with  statues  of  L.  Lagrange  (d.  1813;  PI.  31),  the  mathema- 
tician, and  Paleocapa  (d.  1869;  PI.  36),  the  politician. 

To  the  E.  of  the  Piazza  Carlo  Felice  is  the  Waldensian  Church 
[Tempio  Valdese;  PI.  D,  E,  4,  5 ;  see  p.  44),  the  first  Protestant 
church  built  at  Turin  after  the  establishment  of  religious  toleration 
in  1848.  A  few  paces  farther  on  rises  the  church  of  San  Oiovanni 
Evangelista  (PI.  E,  5),  built  by  Count  Mella  in  1882. 

In  the  Via  San  Secondo,  to  the  S.  of  the  Corso  Vittorio  Emanuele 
Secondo,  rises  the  church  of  San  Secondo  (PI.  16;  C,  4),  completed  in  1882 
in  the  Lombard  style,  with  a  campanile  170  ft.  high.  —  A  little  to  the  S.W- 
of  the  Waldensian  church,  at  the  corner  of  the  Via  Sant'  Anselmo  and 
the  Via  Pio  Quinto,  is  the  Synagogue  (PI.  52;  I),  5),  in  the  Moorish  style 
(1881).  —  In  the  Piazza  Saluzzo ,  to  the  S.W.,  is  the  church  of  Sanli 
Pielro  e  Paolo  (PI.  14;  D,  5),  with  a  Byzantine  facade  (1865). 


In  the  Via  di  Po,  which  leads  to  the  S.E.   from  the  Piazza 
Castello,  on  the  left  (No.  17),  is  the  University  (PL  E,  3 ;  2500  stu- 


North- pMSteni  Quarters.     TL'IUN.  7.  Route.     39 

dents),  erected  in  1713  from  designs  by  Ant.  Ricca,  with  a  hand- 
some court  and  several  statues.  It  contains  a  Museo  Lapidario  of 
Roman  antiquities,  chiefly  inscriptions. 

The  Unitersity  Library,  now  the  Biblioteca  Nazionale  (adm., 
see  p.  29),  was  founded  in  1720  by  Vittorio  Amadeo  II. 

The  nucleus  of  the  collection,  which  numbers  over  275,000  printed 
Fols.  and  1500  MSS.,  consists  of  the  former  library  of  the  house  of  Savoy. 
Amon;;  the  MSS.  are  59  codices  from  Bobbio  (p.  361),  Theodoret's  Commentary 
on  the  Minor  Prophets,  with  Byzantine  miniatures  (0th  cent.),  Pliny's  Historia 
Naturalis,  with  miniatures  of  the  school  of  Mantegua,  the  Apocalypse  with 
commentaries  by  Bealus,  Cardinal  I!o-;jelli''s  missal,  and  a  French  volume 
containing  the  Riimance  of  Huon  of  Bordeaux.  The  1905  incunabula  in- 
clude the  Rationale  of  Guglielmo  Duranti,  printed  by  Fust  at  Mayence  in 
1459,  and  a  copy  of  the  great  Bible  of  Plantin,  presented  by  Philip  II.  of 
Spain  to  Charles  Emmanuel.  Fr.  Basso's  map  of  the  world  (1570),  and 
about  10,000  woodcuts  and  engravings  of  various  schools  are  also  among 
the  treasures  of  the  library.  —  A  disastrous  lire  in  1904  destroyed  about 
24,000  printed  vols,  and  about  2000  MSS.,  including  the  famous  'Heures 
de  Turin',  the  livre  d'heures  of  the  Duke  of  Berry. 

No.  6,  to  the  right  in  the  Via  Accademia  Albertiiia,  is  the 
Accademia  Alhertina  di  Belle  Arti  (PI.  E,  F,  3 ;  adm.,  see  p.  29), 
founded  in  1652,  and  transferred  hither  in  1833.  It  contains  a 
small  collection  of  pictures.  Among  the  best  of  the  older  works 
(many  copies)  are:  140,  141.  Fra  Filippo  Lippi,  Four  Fathers  of  the 
Church  (wings  of  altar-piece).  Also  numerous  *Cartoons  by  Oau- 
denzio  Ferrari  and  Bern.  Lanini,  aiid  a  cartoon  of  Leon,  da  Vinci's 
St.  Anna  with  the  Virgin  aTid  Holy  Child  (not  genuine). 

The  Via  Montebello,  the  next  cross-street  on  the  left,  leads  to 
the  so-called  Mole  Antonelliana  (PI.  F,  3  ;  adm. ,  see  p.  29),  begun 
in  1863  as  a  synagogue  by  AL  Antonclli  (d.  1888)  and  completed  by 
the  city  since  1878.  It  will  be  fitted  up  as  a  Museo  del  Risorgimento 
(comp.  p.  38).  It  is  a  square  building  (44  yds.  each  way)  resembling 
a  tower,  with  a  singular  facade  formed  of  several  rows  of  columns; 
its  height  is  536  ft.  ("Washington  Obelisk  556  ft.).  The  dome  is 
striking  from  its  bold  disregard  of  the  ordinary  technical  rules  of 
construction.  The  square  hall  beneath  the  dome  is  upwards  of  300  ft. 
high,  and  contains  three  galleries  one  above  the  other.  The  upper- 
most gallery  (1024  steps)  commands  a  splendid  *View  of  the  city 
and  the  Alps,  best  by  morning  light.  (Comp.  the  Panorama  and 
p.  41.) 

In  the  Via  Gaudenzio  Ferrari,  No.  1,  is  the  Museo  Civico  d'Arte 
applicata  all'  Industria  (PI.  F,  3;  adm.,  see  p.  29). 

First  Flock.  1st  Room.  Paintings  by  0.  Honthorst,  Carlo  Cignani,  Jan 
Victors,  etc.  —  2nd  Room.  Paintings  by  Bugiardini^  Ant.  Vivarini,  etc.  The 
central  case  contLiins  illuminateil  manuscripts  ;  missal  of  Card.  Dom.  della 
Rovere  (loth  cent.);  statutes  of  the  town  of  Turin;  old  prints.  —  3rd  Room. 
Caskets  (14-17th  cent.),  old  furniture  and  musical  instruments,  views  of 
Turin,  etc.  —  Second  Floor.  4th  Room  (ante -room).  Iron  and  brass 
works.  —  5th  Room.  Han<lsome  locks  and  keys;  bronzes  and  bronze  uten- 
sils, medals,  plaqueltes.  —  6th  Room.  Knamels,  glass  vessels,  precious 
stones,  stained  glass;  in  the  middle,  clocks,  snufl'-boxes,  etc.  —  7th  Room. 
•Collection  of  Eglomis.'s  (painted  glass,  13-18th  cent.).  —  8th  *  9lh  Rooms. 
Spanish-Mauresque  and  Italian  ceramic  ware,   including  admirable   speci- 


40     Route  7.  TURIN.       South-Eastern  Quarters. 

mens  from  Vinovo  (1776-1820)  and  Capodimonte  and  early  Viennese  ware.  — 
10th  Room.  Sculptures  in  marble,  ivory,  and  wood.  Six  pieces  of  sculp- 
ture from  the  tomb  of  Gaston  de  Foix  (p.  149),  by  Bamhaia.  —  llth  Room. 
Textiles  and  costumes  (18th  cent.).  —  12th  Room.  Embroideries;  lace.  — 
13th  Room  (ante-room).  Costumes,  shoes,  etc.  —  We  return  to  the  First 
Floor.  14th  Room.  Wood-carvings.  —  15th  Room.  Carved  furniture  and 
panels.  —  16th  Room.  Choir-stalls  from  the  abbey  of  Staffarda  (16th  cent.). 
—  17th  Room.  Furniture  of  the  17th  and  18th  centuries.  —  We  descend 
to  the  Ground  Floor.  20th  Room  (gallery).  Fragments  of  buildings  and 
.•sculptures,  terracottas.  —  21st  Room.  Carved  wooden  Gothic  ceiling  from 
St.  Marcel  in  the  Val  d'Aosta  (15lh  cent.).  —  23rd  Room.  State  carriages 
of  the  Archbishop  of  Turin  (end  of  the  18th  cent.)  and  of  Cavour,  Gari- 
baldi's travelling  carriage.  —  24th  Room.  Model  of  a  large  Venetian  galley 
(peoia)  of  1730. 

The  Via  di  Po  fp.  38)  ends  at  the  large  Piazza  Vittoeio  Ema- 
NUELE  Primo  [PL  r,  4),  on  the  other  side  of  which  is  the  handsome 
Ponte  Vittorio  Emanuele  Primo  (PI.  F,  G,  4),  crossing  to  the  Gran 
Madre  di  Dio(p.  41).  From  the  S.  side  of  the  piazza  the  Corso  Cairdli 
(PI.  F,  4,  5),  adorned  with  a  Monument  of  Garibaldi,  leads  to  the 
Ponte  JJmberlo  Primo  (PI.  F,  5),  the  iron  bridge  at  the  E.  end  of  the 
Corso  Vitt.  Emanuele  II.  (p.  38),  and  to  the  Giardino  Piihblico. 

The  Giardino  Pnbblico  or  Parco  del  Valentino  (PI.  E,  5-7),  an 
attractive  promenade  (cafe- restaurant) ,  commands  attractive  views 
of  the  well-wooded  right  bank  of  the  Po  (several  piers  on  the  river). 
In  the  middle  of  the  park  are  the  Botanical  Garden  and  the  *CasteUo 
del  Valentino,  a  building  in  the  French  style  with  four  towers, 
begun  in  1650  for  the  Madama  Reale  Christine,  wife  of  Vittorio 
Amedeo  I.,  by  a  pupil  of  Sal.  Debrosse,  but  left  unfinished.  Since 
1860  the  chateau  has  been  occupied  by  the  Polytechnic  School  (Reale 
Scuola  d' Applicazione  per  gli  Jngegneri).  In  the  court  is  a  bronze 
statue  of  Quintino  Sella,  the  scholar  and  statesman  (1826-84).  On 
the  S.  side  of  the  garden,  beyond  the  lake  (skating  in  winter,  pat- 
tinaggio),  rises  the  colossal  bronze  equestrian  statue  of  Duke  Amadeus 
ofAosla  (1845-90;  1870-73  king  of  Spain),  by  Calandra  (1902);  on 
the  pedestal  are  reliefs  representing  scenes  from  the  history  of  the 
princes  of  the  house  of  Savoy.  A  little  to  the  E.,  on  the  Po,  is  the 
Castello  Medioevale  (adm.,  see  p.  29)  ,  an  interesting  reproduction 
of  a  castle  of  the  loth  cent.,  and  of  the  little  borough  belonging  to 
it  (1884;  restaurant). 

On  the  Right  Bank  of  the  river,  at  the  E.  end  of  the  Corso  Vittorio 
Emanuele  Secondo  (p.  38),  stands  the  large  Crimean  Monument 
(PI.  26;  F,  5),  by  Luigi  Belli,  erected  in  1892  to  commemorate  the 
war  of  1855-56. 

The  Via  Moncalieri  leads  from  the  bridge  to  the  left,  along  the 
bank  of  the  river,  to  (5  min.)  the  Monte  del  Cappuccini  (PL  F,  G,  5 ; 
958  ft.),  a  wooded  hill  rising  164  ft.  above  the  Po  and  ascended  by 
a  cable -tramway  (return -fare  15  c.).  At  the  top  are  a  Capuchin 
monastery,  founded  in  1683,  the  church  of  Santa  Maria  del  Monte, 
a  garden-restaurant,  and  a  Station  of  the  Italian  Alpine  Club,  with 
maps  and  other  collections,  and  a  belvedere  (adm.,  see  p.  29). 


5  /  V'  _ 


fcii^^ 


Enmrons.  TURIN.  7.  Route.     41 

The  'View  (best  by  morning-light)  embraces  the  river,  city,  plain,  and 
the  chain  of  the  Alps  in  the  background.  The  prominent  heights  are  :  to 
the  N.,  the  snowy  peaks  of  Monte  Rosa  (15,215  ft.);  to  the  N.W.,  the  Gran 
Paradise  (13,324  ft.;  concealing  Mont  HKanc),  Monte  Levanna  (11,875  ft.),  and 
the  Ciamarelhi  (12,060  ff.);  more  to  the  W.  is  the  Rocciamelone  (11,604  ft.), 
concealing  Mt.  Cenis ;  then,  to  tha  left,  the  valley  of  Susa  (p.  44),  with  the 
Sagra  di  San  Michele  (p.  3)  on  a  conspicuous  hill;  farther  to  the  S.W. 
Monte  Viso  (12,610  ft.). 

Near  tlie  Monte  dei  Cappucclni ,  opposite  the  Ponte  Vittorio 
Emanuele  Prime  (p.  40),  stands  the  church  of  Gran  Madre  di  Dio 
(PI.  G,  4),  erected  by  Ferd.  Bonsignore  in  1818-31  in  imitation  of 
the  Pantheon  at  Rome,  to  commemorate  the  return  of  King  Victor 
Emmanuel  I.  in  1814.  In  front  of  the  church  rises  a  monument  of 
the  liing  by  Gaggini. 

The  Cemetery  (Campo  Santo  Oenerale;  PI.  G,  H,  1),  11/4  M.  to 
the  N.E.  of  the  Piazza  Castello  (open  10-4  in  winter  in  fine  weather; 
in  March,  April,  Sept.,  and  Oct.  9-6;  in  summer  8-12  and  2-7),  is 
entered  from  the  end  of  the  Via  Catania,  which  is  reached  from  the 
Ponte  dalle  Benno  by  the  Strada  del  Kegio  Parco,  a  shady  avenue 
(tramway  from  the  Piazza  Castello).  In  the  front  section,  to  the  left 
by  the  wall,  is  the  tomb  of  Silvio  Pellico  (d.  1864);  in  the  section 
behind  we  observe  the  names  of  D'Azeglio,  Bava,  Brofferio,  Gioberti, 
Pepe,  Pinelli,  and  other  eminent  Italians.  —  At  the  S.  end  is  a  Cre- 
matorium (PI.  G,  H,  1,  2;  adm.  9-12). 


The  *Superga  or  Soperga  (2205  ft.),  the  royal  burial  -  church 
since  1778,  conspicuously  situated  on  a  hiU  to  the  E.  of  Turin,  is 
well  worthy  of  a  visit  in  fine  weather.  A  steam-tramway  plies  from 
the  Piazza  Castello  to  the  village  of  (3  M.)  Sassi  in  1/2  ^^- !  thence 
we  reach  the  top  by  cable-tramway  in  20  min. ;  no  change  of  carriages 
in  the  case  of  treni  diretti;  return-fares  to  Sassi  60  or  50  c,  to  the 
Superga  4  fr.  60  or  3  fr.  40  c.  (on  Sun.  and  holidays  2  fr.  16  or 
1  fr.  65  c).  From  Sassi  the  top  may  also  be  reached  on  foot  in 
I'/o  lir-  ^Y  ^  shady  road  (to  the  right  as  we  quit  the  station,  then 
by  the  first  turning  to  the  left). 

Tiie  Superga,  a  votive  offering  dedicated  by  Victor  Amadeus  II. 
on  the  occasion  of  the  raising  of  the  siege  of  Turin  in  1706  (p.  26), 
and  erected  in  1717-31  from  designs  hy  Juvara ,  is  a  handsome 
edifice  with  a  lofty  dome  and  an  imposing  portico  in  the  style  of  an 
antique  temple,  and  has  a  spacious  octagonal  interior.  It  includes 
a  library  and  a  suite  of  royal  apartments  (never  occupied).  We  enter 
by  the  door  on  the  left  of  the  church.  In  the  interior  (closed  12-2) 
are  shown  a  room  hung  with  indifferent  portraits  of  all  the  popes,  the 
church,  and  the  crypt  containing  monuments  of  the  kings  from 
Victor  Amadeus  II.  to  Charles  Albert,  and  of  Queen  Maria  Adelaide 
(p.  37)  and  Duke  Amadeus  of  Aosta  (p.  40).  The  dome  (245  ft. 
high;  311  steps)  commands  a  splendid  **View  of  the  Alps,  from 
Moute  Viso   to  the  Adamello  Group  (comp.  the  panorama,   and 


42     Route  7.  TURIN.  Environs. 

Cherubini's  relief  in  the  station-'building),  the  Apennines,  the  valley 
of  thePo,  and  the  Colli  Torinesi  (p.  29).  —  Alhergo  Ristorante  delta 
Ferrovia  Funicolare ,  dej.  2,  D.  3-4,  pens.  7  fr. ;  Ristorante  Bel- 
vedere, de'j.  11/2,  D.  2-3  fr.,  plainer. 

About  4V2  M.  to  the  S.  of  Turin,  on  the  line  to  Genoa  (R.  lib)  and 
also  on  the  electric  tramway  to  Trofarello  (return-fare  80c.),  lies  Moncalieri 
(Alhergo  Roma;  Bistorante  GroUa  Gino),  a  pleasant  little  town  of  10,000  in- 
hab..  picturesquely  situated  on  the  S.W.  verf;c  of  the  Colli  Torinesi,  and 
commanding  a  superb  view.  On  a  height  above  the  town  is  the  royal 
CMteau  (15th  cent.;  rebuilt  17th  cent.),  in  which  Victor  Emmanuel  I.  died 
in  1H'.;4.  It  is  now  the  residence  of  Princess  Clotilda  nf  Savoy,  widow 
of  Prince  .Te'riime  Bonaparte.  The  picture-gallery  in  the  W.  wing  contains 
a  series  of  large  paintings  illustrating  the  history  of  the  House  of  Savoy. 
The  last  of  the  series,  'Delivery  of  the  Plebiscite  of  Tuscany  by  Baron 
Ricasoli  in  1860\  is  interesting  from  its  numerous  portraits  (fee  '/2-I  fr-)- 
Visitors  to  the  chateau  alight  at  the   tramway-station  before  the  town. 

About  6  M.  to  the  S.W.  of  Turin  (steam-tr.imway,  see  p.  27)  lies  Stupi- 
nigi  (800  ft.;  Albergo  del  Castel  Vecc/iio,  at  the  back  of  the  chateau,  plain 
but  good),  a  royal  chateau,  erected  from  designs  by  Juvara  in  the  reign  of 
Charles  Emmanuel  III.  and  occupied  since  1900  as  a  summer-residence 
by  the  Queen-Dowager  Margherita.  It  contains  several  rooms  with  fine 
frescoes  and  is  surrounded  by  an  extensive  deer-park  (visitors  not  always 
admitted). 

Another  steam-tramway  (p.  27)  connects  Turin  with  Carignano  (774  ft.), 
a  town  with  4700  inUab.  and  several  fine  churches,  situated  on  the  highroad 
to  Nice.  San  Giovanni  Battista  was  erected  by  Count  Alfieri ;  Santa  Maria 
delle  Grazie  contains  a  monument  to  Bianca  Palseologus,  daxighter  of  Gug- 
lielmo  IV.,  Marquis  of  Montferrat,  and  wife  of  Dnke  Charles  I.,  at  whose 
court  the  'Chevalier  Bayard'  was  brought  up.  —  Carignano,  with  the  title 
of  a  principality,  was  given  as  an  appanage  to  Thomas  Francis  (d.  1656), 
fourth  son  of  Charles  Emmanuel  I.,  from  whom  the  present  royal  family 
is  descended.  —  Steam-tramway  to  Carmagnola,  see  p.  50. 

8.  The  Alpine  Valleys  to  the  West  of  Turin. 

strangers  are  not  allowed  to  approach  within  1  kilometre  ('/2  M.)  of 
any  frontier-fortress;  and  photographs  must  not  be  taken  within  10  kilo- 
metres (6  M.)  of  a  fort. 

a.  From  Turin  to  Ceresolb  Rbalb.  To  (28  M.)  Cuoryne,  lail- 
■way  In  1^/4-2  hrs.  (fares  3  fr.  45,  2  fr.  15  c).  The  trains  start  at  the 
Stazione  dl  Porta  Siisa  (p.  27).  The  most  important  intermediate 
stations  are  (71/0  M.)  Settimo  Torinese  (p.  65),  (21 Y2  M.)  Rivarolo 
Canavese,  junction  of  a  hranrh-line  via  Ozegna  (omn.  to  the  royal 
chateau  of  Aglic?)  to  Castellamonte,  and  (26  M.)  Valperga  (1280  ft.), 
the  last  commanded  by  the  (lt/4hr.)  Santuario  di  Belmonte  (2380ft.; 
now  an  Observantine  convent;  view),  founded  by  King  Arduin 
(p.  54)  in  1010  and  rebuilt  in  1300.  —  From  Cuorgni  (1350  ft. ; 
Alb.  della  Corona  Grossa;  Cafe-Restaurant  de  Paris;  omn.  to  Locana 
twice  daily  in  274  hrs.,  II/2  fr.;  one-horse  carr.  to  Noasca  16,  two- 
horse  27  fr. ;  carr.  from  the  Grand  Hotel  at  Ceresole  Reale  meet  the 
first  morning  train)  a  road  ascends  to  the  "W.  through  the  valley  of 
the  Oreo  (Val  Locana)  via  (31/2  M.)  Ponte  Canavese  (1600  ft.;  Alb. 
del  Valentino) ,  a  picturesque  little  town  at  the  mouth  of  the  Val 
Soana,  Locana  (2025  ft.;  Corona  Grossa;  Tre  Pernici;  Cervo),  and 
Perebecche  (p.  62),  to  (2O72  M.)  Noasca  (8485  ft.;  *Alb.  Reale, 


LANZO  TORINESE.  S.  Route.     43 

K.  31/2  fr-)-  ^"  *^^  neightouvhood  is  the  pretty  waterfall  of  the 
Noaachetta.  —  A  road  (41/2  M.)  leads  from  Noasca  through  the  -wild 
gorge  of  the  Oreo  (the  ^Scalari  or  ''Scalee  di  CeresoW^  to  — 

Ceresole  Reale  (4905ft.;  *Orand  Hotel,  R.  from  31/2,  B.  IV4, 
d(?j.  3,  D.  4,  pens.  incl.  wine  12  fr. ;  Hot-Pens.  Bellagarda,  pens, 
from  8  fr.,  well  spoken  of;  Alb.  Levanna,  plain),  a  village  with 
300  inhab.,  situated  in  a  wide  valley  at  the  N.E.  base  of  the  four- 
peaked  Levanna  (11,875  ft.),  is  frequented  as  a  summer-resort  and 
possesses  a  chalybeate  spring. 

Excursions  (guides,  Paolo  Colombo,  Bart.  Rolando,  5-6  fr.  per  day;  mule 
and  driver  10  fr).  Via  Grosso  and  throuijli  fine  fir-wooda  (o  the  (1  hr.)  Alpi 
Grvsionay  (5806  ft.),  the  (1  hr.)  Alpi  Liet,  and  the  (26  min.)  Laghelti  della 
Bellagarda  (T3iO  ft.),  on  the  N.E.  slope  of  the  Monte  Bellagarda  (9642  ft.). 
—  A'ia  Frera  to  the  (2  hrs.)  Lago  di  Ores  (6S30  ft.),  afTordin^  a  fine  view  of 
the  Levannetta  (11,2S0  ft.).  —  From  the  j[72  hr.)  Parrocchia  (p.  59)  to  the 
(2V2  hrs.)  Alpi  di  Nel  and  the  Lago  di  Nel  (7SU0  ft.),  at  the  foot  of  the  vast 
Nel  Glacier.  —  Over  the  Col  de  Nivolet  to  Val  Sararanche  (with  ascent  of 
the  Gran  Paradiso)  and  Villeneuve  (Aosta),    see   p.  59;    to  Cogne,   see  p.  Q'i. 

b.  Fkom  Turin  to  Lanzo  ,  20  M.,  railway  in  1-1 V4  ^^-  (fares 
3  fr.  35,  2  fr.  25,  1  fr.  50  c),  starting  from  the  Via  Ponte  Mosca 
(PI.  E,  1).  —  41/2  M.  Venaria  Reale,  with  the  ruins  of  a  royal  hunt- 
ing-chateau, at  the  influx  of  the  Ceronda  into  the  Stura.  The  train 
crosses  both  streams  and  ascends  the  valley  of  the  latter.  —  13  M. 
Cirie  (1130  ft. ;  Leon  d'Oro,  etc.),  with  a  13th  cent.  Gothic  church. 

20  M.  Lanzo  Torinese  (1770  ft.  ;  Pasta;  Europa;  Rail.  Restau- 
rant),  prettily  situated  on  a  hill,  with  a  ruined  castle ,  and  sur- 
rounded with  villas.  The  Ponte  del  Roc ,  which  crosses  the  Stura 
near  Lanzo  with  an  arch  120  ft.  in  width,  was  built  in  1378. 

To  the  N.  of  Lanzo  opens  the  pretty  valley  of  the  Tesso,  the  chief 
place  in  which  is  Coassolo  Torinese  (2395  ft.;  Alb.  d'ltalia,  etc.);  cm  the 
J/cnte  Dastia,  iMz  hr.  to  the  W.,  is  the  Saniuario  di  Sanf  Ignazio  (3060  ft.). 

Lanzo  is  the  best  starting-point  for  excursions  in  the  three  Valleys 
of  the  Upper  Stura  (omn.  in  summer  to  Usseglio,  Ealme,  and  Forno).  The 
southernmost  of  these  is  the  Vallk  di  Yiu,  with  the  villages  of  Viii  (2475  ft.; 
Alb.-Ristor.  Marchis ;  Corona  Reale;  Alb.  di  Viii),  Le7nie  (8150  ft.;  Stella; 
San  Michele),  and  Usseglio  (4100  ft.;  Alb.  diFranoia;  Cibrario ;  etc.).  The 
Rifugio  Pera  Caval  (8465  fr.),  between  the  Monte  Lera  (11,010  ft.)  and  the 
Croce  Rossa  (11,100  It.),  lies  4  hrs.  to  the  W.  —  In  the  middle  is  the  Vallk 
d'Ala,  which  diverges  from  the  N.  or  chief  valley  at  Ceres  (2310  ft. ;  Alb.  di 
Ceres;  Italin),  and  contains  the  villages  of  Ala  di  Slura  (3545  ft.;  Bruneri) 
and  Balme  (4785  ft. ;  Alb.  Keale ;  Belvedere).  Between  the  two  villages  are 
the  fine  wateifall  of  the  Gorgia  di  Mondrone,  the  Albergo  Broggi  (5605  ft.) 
on  the  I'iano  della  Mvssa  (near  the  Tesla  Ciarvn  and  Rocci  Nera,  of  interest 
to  geologists),  and  the  Rifugio  Gastaldi  (8690  tt.),  the  starting-point  for  the 
ascents  of  the  Ciamanila  (12,060  ft.;  guide  from  Balme  15-20  fr.)  and  the 
Bessaiiese  (11,915  ft.;  difficult;  guide  25  fr.).  —  Through  the  northernmost, 
or  Valle  Gkasde,  a  road  ascends  via  Chialamberto  (2b05  ft.;  Posta;  Albero 
Fiorito)  and  Groscavallo  (3615  ft.,  Piajictta;  di  Groscavallo)  to  Forno  Alpi 
Qraie  (3935  ft.;  Alb.  delle  Aliii),  at  the  S.E.  base  of  Monte  Levanna  (see 
above).  About  '/-j  hr.  to  the  S.  is  the  pilzrimage-church  Santuario  della 
Madonna  dtl  Forno;  and  2'/2  hrs.  to  the  W.  is  the  Rifvgio  della  Oura 
(7315  ft.).  —  For  ascents  and  passes  to  Savoy,  see  Baedeker's  Suuihern  France 
and  C.  Eatti's  Guida  nelle  Valli  di  Lanzo  (Casanova;  Turin,  1904). 

c.  From  Turin  to  Susa.  —  To  (28  M.)  Bussoleno  by  the  Mont 
Cenis  Railway,  see  pp.  3,2.    To  the  left,   above  Sanf  Ambrogio, 


44     Route  8.  TORRE  PELLICE. 

appears  the  abbey  of  Sagra  di  San  Michele  (p.  3).  —  From  Bus- 
soleno  a  short  branch-line  (4^/2  M.,  in  1/4  hi.)  runs  to  Susa  (1625  ft. ; 
Sole),  a  small  and  ancient  town,  the  Roman  Segusio,  picturesquely 
situated  on  the  right  bank  of  the  Dora.  A  garden  on  the  W.  side  of 
the  town  contains  a  Triumphal  Aich,  44  ft.  in  height,  39  ft.  in  width, 
and  24  ft.  in  depth,  with  projecting  Corinthian  columns  at  the  cor- 
ners and  sacrificial  scenes  on  the  frieze,  erected  according  to  the  in- 
scription in  A.D.  8  to  Augustus.  There  are  also  a  few  other  Roman 
relics.  The  church  of  San  Giusto  dates  from  the  11th  century.  On 
the  opposite  bank  of  the  Dora  rises  the  ruined  castle  of  Brunetta. 

d.  From  Turin  to  Torre  Pellice,  34  M.,  railway  in  2-272  hrs. 
(fares  4  fr.  45,  3  fr.,  1  fr.  95  c).  —  The  train  diverges  from  the 
Genoa  line  (p.  51)  at  Sangone  and  turns  to  the  S.W.  —  151/2  M. 
Airasca  (850  ft.),  whence  a  branch  runs  via  Moretta  (p.  45)  and 
Saluzzo  (p.  45)  to  Cuneo  (43  M.;  p.  46).  —  231/2  M.  Pinerolo, 
Fr.  P/f/neroI  (1234  ft. ;  Campana;  rannone  d'Oro,  well  spoken  of), 
a  town  with  12,600  inhab.,  long  the  residence  of  the  Acaia  family 
in  the  middle  ages,  contains  an  old  Cathedral  (11th  cent.).  A  new 
vault  (1898)  in  the  church  of /San  Maurizio  contains  the  tombs  of 
eight  princes  of  Savoy  (1334-1490).  A  little  to  the  E.,  above  the 
road  to  Riva,  is  the  convent  of  Monte  Oliveto,  in  the  possession  of 
French  Carthusian  monks  since  1903  (comp.  p.  449). 

A  flteam-tramway  runs  hence  via  Cavonr  (985  ft.)  to  Saluzzo  (see  p.  46). 
Cavour,  from  the  17th  cent,  onwards  the  seat  of  the  now  extinct  Counts 
of  Cavour,  lies  at  the  foot  of  the  Rocca  (1505  ft.),  an  isolated  granite  cone.  — 
Another  steam-tramway  runs  from  Pinerolo  to  Perosa  Argentina  (2015  ft.), 
in  the  Val  Chisone ,  whence  a  diligence  plies  to  Perrero  (2795  ft.)  and 
Fenestrelle  (3785  ft.). 

29  M.  Bricherasio  (branch -line  to  Barge,  see  below).  —  34  M. 
Torre  Pellice,  Fr.  La  Tour  (1695  ft.;  Orso,  very  fair;  Leone;  Pens. 
Bel-Air,  6-7  fr. ;  Pens.  Suisse,  6  fr. ;  Pens.  Bellevue,  5-6  fr.),  a  town 
of  4000  inhab.  and  the  capital  of  the  "Waldensian  Valleys. 

The  Waldensian  Valleys  (Vallies  Vaiidoises),  adjoining  the  French 
frontier,  were  the  home  of  those  well-known  Protestant  communities  (about 
25,000  souls)  who  have  resided  here  for  upwards  of  six  centuries  and  were 
formerly  so  cruelly  persecuted.  The  language  of  the  valleys  is  French. 
After  Torre  Pellice  the  chief  settlements  are  Z/tiserna,  Villar,  and  Bobbio 
Pellice  (2400  ft.;  Hut.  Flora;  Hut.  Michelin),  all  three  in  the  valley  of  the 
Pellice;  Angrogna  (2565  ft.),  in  the  beautiful  valley  of  the  same  name  to 
the  N.  of  Torre  Pellice;  San  Oermano  (1595  ft.),  in  the  Val  Chisone;  and 
Perrero  (see  above),  in  the  Val  Germanasca. 

e.  From  Turin  to  Crissolo.  Railway  to  (371/2  M.)  Barge  in 
21/2  hrs.  (5  fr.  10,  3  fr.  25,  2  fr.  10  c).  —  Our  line  diverges  to  the 
S.  at  (29  M.)  Bricherasio  (see  above)  from  that  to  Torre  Pellice.  — 
From  Barge  roads  lead  in  one  direction  to  Revello  (p.  4B ;  diligence 
twice  daily),  and  in  the  other  to  (3  M.)  Paesana  (p.  46)  and  up  the 
valley  of  the  Po  to  (91/2  M. ;  diligence  twice  daily)  Crissolo,  Fr. 
Crussol  (4375  ft.;  Alb.  della  Corona,  R.  from  II/2  fr.;  guide.  Ant. 
Gilli  and  others).  Near  Crissolo  is  the  Caverna  del  Rio  Martina 
(guide  and  illumination  of  the  cave,  5  fr.),  a  dolomite  cavern. 


SALUZZO.  9.  Route.    45 

Crisaolo  is  the  sfarling-point  for  the  ascent  of 'Monte  Vise  (12,CC0  ft.), 
the  highest  summit  of  the  Cottlan  Alps  (not  recommended  to  any  but  ex- 
perts; guide  25  fr.).  We  follow  the  bridle-path  leading  to  the  W.  to  the 
Col  de  la  Traverselte  (8680  ft.)  past  the  Plan  Mdzi  (5777  ft.;  Alb.  della 
Regina)  as  far  as  the  (2  hrs.)  Piaii  del  Re  (0625  ft. ;  Alb.  Alpine),  near  the 
sources  of  the  Po.  Thence  we  proceed  to  the  S.  to  the  (2'/2  hrs.)  Rifugio 
Alb.  Quinlino  Sella  (8G95  ft.),  near  the  Lago  Grande.  From  this  point  we 
reach  the  summit  by  a  still'  climb  of  4  hrs.  up  the  S.  face.  The  summit 
commands  a  splendid  panorama,  embracing  Mont  Blanc  and  Monte  Rosa 
on  the  N.  —  From  the  Col  de  la  Travenctte  to  Abrih,  see  Baedeker's  Sotith-  ■ 
em  France. 


9.  From  Turin  to  Ventimiglia  via  Cuneo  and  Tenda. 

1131/2  M.  Railway  to  (54V2  M.)  Cwteo  in  21/4-8  hrs.  (fares  10  fr.  25, 
7  Ir.  15,  4  fr.  60  c.);  thence  to  (26i/i  W.)  Vievola  in  13/4  hr.  (fares  5  fr., 
3  fr.  50,  2  fr.  25  c).  The  railway  is  to  be  continued  to  Ventimiglia.  In 
the  meantime  a  Diligence  runs  thrice  daily  from  Vievola  to  (32V2  M.) 
Ventimiglia  in  53/4-71/4  hrs.  (81/2  fr.).  Carr.  and  jiair  from  Tenda  to  Venti- 
miglia 25  fr.  (4V'.;  hrs.).  —  Beyond  Tenda  the  road  runs  for  some  distance 
through  French  territory,  So  that  the  custom-house  formalities  have  to  be 
undergone  twice. 

The  train  traverses  the  zone  of  the  Brian^ouuais,  the  closely  com- 
pressed region  of  the  Ligurian  and  Maritime  Alps  ,  which,  including  the 
adjacent  Cottian  Alps  on  the  N.,  extends  from  Savona  to  Briancon  in 
Dauphine.  The  geological  characteristics  of  this  mountain-region  are  huge 
and  precipitous  clilVs  of  limestone,  twisted  and  compressed  strata  of  slate, 
and  extensive  dislocations. 

From  Turin  to  (18  M.)  Carmagnola,  see  pp.  49,  50.  —  231/2^. 
Racconhji  (835  ft.),  with  a  royal  chateau  built  in  1670  and  restored 
in  1834  and  1902;  the  park  was  laid  out  in  1755  in  the  style  of 
Le  Notre.  The  chateau  is  the  summer-residence  of  the  King,  and 
the  birthplace  of  the  crowu-prince  Humbert  (1904).  —  From  (28  M.) 
Cavallerinaggiore  (940  ft.)  branch-lines  run  E.  to  (8  M.)  Bra  (p.  50) 
and  W.  to  (10  M.)  Moretta  (p.  44). 

321/2  M.  Savigliano  (1050  ft.;  Alb.  Corona),  a  town  of  9900  in- 
hab.,  on  the  Maira,  has  railway-carriage  works.  The  principal  church 
contains  paintings  by  Giov.  Ant.  Mplinari  (1577-1640),  a  native  of 
the  town. 

From  Savif^liano  a  branch-line  (10  M.,  in  V2  hr. ;  fares  1  fr.  90,  1  fr.  36, 
85  c.)  runs  to  Saluzzo  (1122  ft. ;  "Corona  Orossa,  R.  2-3  fr.),  capital  of  the 
province  (formerly  marquisate)  of  that  name,  with  10,300  inhab.,  the  seat 
of  a  bishop,  and  a  flourishing;  trade  and  industries.  It  is  the  junction  for 
the  line  from  Airasca  to  Cuneo  (p.  44).  The  Cathedral,  built  in  1491-1501 
but  modernized  in  the  interior,  contains  a  large  crucifix  of  1500  in  the 
choir.  Near  the  cathedriil  is  a  monument  to  Silvio  Pellico,  the  poet  (d.  1854), 
author  of  'Le  Mie  Prigioni'  and  the  tragedy  of  'Francesca  da  Rimini', 
who  was  born  at  Salu/.zo  in  17)^8  and  expiated  his  patriotic  efforts  by  ten 
years'  imprisonment  in  Santa  Blargherita,  the  Doges'  Palace  (see  p.  8(K)), 
and  the  Spielberg  at  Briinn.  The  higher  part  of  the  town  alfords  a  fine 
survey  of  the  Piedmontese  plain.  Among  its  quaint  buildings  are  the 
mediaval  Torre  del  Comune  and  the  Casa  del  Giurecoiuulto  Casazza(\6\\i  cent.), 
now  the  Mnieo  Cicico.  A  visit  should  he  paid  to  the  church  of  San  Giovanni, 
in  the  French  Gothic  style,  with  a  raised  choir.  The  late-Gothic  interior 
contains  the  tomb  of  Marjuis  Lodovico  II.,  by  Ben.  Briosco,  and  many  other 
sculptures  by  Lombard  artists.  —  Pleasant  excursion  to  the  Casldlo  della 
ilunta,  once  a  chateau  of  (he  marquis,  with  frescoes  (I5th  cent.). 


46     Route  9.  VALDIERI.  From  Turin 

Steam  Teamwats  from  Saluzzo  to  Turin,  p.  27;  to  Pinerolo,  p.  44;  to 
Venasca;  and  to  (12'/2  M.)  Paesana  (p.  44)  via  (5  M.)  Revello,  where  there 
is  an  ancient  copy  of  Lenn.  da  Vinci's  Last  Supper  (p.  154),  with  variations. 

391/2  M.  Fossano  (1180  ft.;  Rail.  Restaurant),  with  7700  inhab., 
situated  on  a  spur  of  the  Apennines  on  the  left  bank  of  the  Stura, 
commanded  by  a  castle,  is  the  seat  of  a  bishop,  and  has  an  academy 
and  mineral  baths  (branch-line  to  Mondov)  and  ViUanova,  p.  49).  — 
.  47  M.  Centallo,  a  considerable  place  with  remains  of  mediaeval  for- 
tifications. 

541/2  M.  Cuneo,  or  Coni  (1755  ft.;  Alb.  Superga,  Barra  di 
Ferro,  both  very  fair),  the  capital  of  a  province,  with  15,400  inhab. 
and  silk-factories,  lies  on  a  view-commanding  hill  at  the  confluence 
of  the  Stura  and  the  Gesso.  The  fortifications  have  been  converted 
into  shady  promenades,  which  afl'ord  splendid  views  of  the  Maritime 
Alps,  of  Monte  Viso  (p.  45  i  N.W.),  and  the  Besimauda  (p.49;  S.E.), 
The  Gothic  Franciscan  Church  (14-16th  cent.)  is  now  a  military 
magazine.    Pleasant  walk  to  the  Madonna  degli  Angeli. 

Railway  from  Cuneo  to  the  Certosa  di  Pesio  and  to  Mondavi,  see  p.  49; 
to  (43  M.)  Airasca  via  Saluzzo  and  Jloretta,  see  p.  4i.  —  Steam  Tramway 
from  Cuneo,  via  Caraglio,  to  (11  M.)  Dronero,  situated  to  the  N.W.  in  the 
Maira  valley ;  and  also  to  Borgo  San  Dalmazzo  (see  below),  and  to  Boves 
(1905  ft.). 

The  railway  to  Vievola  crosses  the  Gesso,  beyond  which  the 
line  to  Mondovi  diverges  from  it;  it  then  traverses  a  plain  covered 
with  groves  of  chestnuts.  —  621/0  M.  Borgo  San  Dalmazzo  (2070  ft. ; 
Tre  Galli;  Delfino),  a  small  town  with  3600  inhab.,  the  Vrbs  Pedona 
of  the  Romans  ,  is  overlooked  by  the  church  of  Madonna  del  Mon- 
serrato  (view). 

From  Borgo  San  Dalmazzo  a  delightful  excursion  may  be  mude  to  the 
Upper  Valley  of  the  Gesso  (diligence  twice  dally  in  summer  as  far  as  the 
Terme  di  Valdieri).  —  The  road  ascends  along  the  left  bank  of  the  Gesso 
to  (6  M.)  Valdieri  (2485  ft.;  Corona  Grossa),  which  is  the  starting-point  for 
an  ascent  of  the  Mcnte  VArp  (tOOOft.),  an  excellent  point  of  view.  — 
From  the  Ponte  Rosso,  about  l'/4  M.  beyond  Valdieri,  a  road  leads  to  the 
left  to  Entraque  (2958  ft.  ;  Atiffelo ,  Mora,  both  plain  but  good),  a  village 
of  1700  inhab.,  finely  situated  in  a  lateral  valley,  9V4  M.  Irom  Borgo  San 
Dalmazzo.  From  this  point  excur.nons  (guide,  Giov.  Demichelis)  may  be 
made  to  the  Bousset  ValUn,  through  which  a  road  ascends  to  (2V2  hrs.)  a 
waterfall  984  ft.  high;  to  (21/2  hrs.)  the  XnJe  of  Rovina  (5117  ft.)  and  on, 
past  a  picturesque  waterfall,  to  the  (41/2  hrs.)  mountain-lake  of  Brocan 
(6610  ft. ;  Rifugio  Genova  of  the  I.  A.  C,  in  the  neighbouring  VaUe  delle 
Rovine) ,  with  a  magnificent  environment,  a  good  starting-point  for  an 
ascent  of  the  Punta  deW  Argentera  (4  hrs.;  see  below)  and  of  the  Bee  d''Orel 
(8145  ft.;  'View).  Good  road  through  beech-woods  to  (6  M.)  San  Oiacomo, 
whence  bridle-paths  lead  to  the  glacier-filled  head  of  the  valley  at  the  foot 
of  Mont  Clapier,  and  across  the  Colle  delle  Finestre  to  (S  hrs.  {St.  Martin- 
Visubie  (see  Baedeker^s  Southern  France). 

The  main  road  continues  to  ascend  the  Gesso  valley,  passing  large 
quarries  and  a  royal  hunting -lodge.  About  8  M.  above  Valdieri,  in  a 
sequestered  upland  valley,  lie  the  Terme  di  Valdieri  (4410  ft.),  with  thirty- 
six  warm  sulphur  springs  (100-156°  Fahr.)  and  a  well-equipped  hotel  (season, 
June  25th  to  Sept.  30th;  pens.  8-10  fr.).  The  splendid  situation  attracts 
many  other  guests  beside  the  patients.  To  the  E.  lies  a  fine  beech-forest. 
To  the  W.  a  pleasant  excursion  may  be  made  into  the  Vallasco  Valley. 
The  ascent  of  the  "Monte  Matio  (10,130  ft.)  is  fatiguing  though  not  difficult 
(5  hrs. ;  guide  10  fr.).     That  of  the  Punta  dell'  Argentera  (10,883  ft. ;  6  hrs. : 


to  Ventimiglia.  LIMONE.  9.  Route.     47 

guide  12  fr.),  the  highest  of  the  Maritime  Alps,  is  recommended  to  experts 
only;  the  splendid  panorama  from  the  top  includes  the  plain  of  the  Po 
and  the  Tyrolese  Alps  on  the  N.E.,  the  Cottian  Alps  on  the  W.,  the  coast 
of  Provence  on  the  S.W.,  from  the  lower  valley  of  the  Var  to  the  Islands 
of  Hyeres,  and  Corsica  on  the  S. 

Another  road  connects  Borgo  San  Halmazzo  with  the  Upper  Valley  ok 
TiiE  Stura  (diligence  to  Eagni  di  Vinadio  in  summer).  The  capital  of 
this  fair  valley  ,  known  to  the  Romans  as  the  Vatlis  Aurea  on  account 
of  its  fertility,  is  (IO1/2  M.)  Dtmonte  (2495  ft.  -,  Alb.  Garibaldi),  an  industrial 
place  with  2400  inhab.,  pleasantly  .<:ituated  in  an  open  part  of  the  valley. 
Above  Denionte  the  valley  contracts.  The  next  villages  are  (171/2  M.) 
Vinadio  (2970  ft. ;  Alb.  d'ltalia),  picturesquely  situated  and  encircled  by 
strontc  fortifications,  Sambnco,  and  Argenlera  (V't.  Argentiire ;  5515  ft.),  with 
the  Italian  custom-house.  |From  Argentera  over  the  Col  de  Larche  or  Col  de 
VArgeniiire  to  Larche  and  Barcelonnette,  in  France,  see  Baedeker's  Southern 
France.]  —  A  road  to  the  left,  halfway  between  Vinadio  and  Sambuco, 
leads  to  the  Bagni  di  Vinadio  (4363  ft.),  situated  in  a  lateral  valley,  7  M. 
to  the  S.W.  of  Vinadio,  and  possessing  a  hotel  (pens.  7'/2-9  fr.)  and  eight 
htit  sulphur-.springs  (85-144°  Fahr.).  A  pleasant  excursion  may  be  made 
hence  to  the  (1  hr.)  hamlet  of  Callieri,  with  its  old  woods  of  beech  and  pine 
and  a  fine  waterfall.  Admirable  views  are  had  from  the  Bccco  d'' Jschiatbr 
(9860  ft.;  5hrs.),  reached  bypassing  the  lakes  of  the  same  name,  and  from 
the  Monte  Tinibras  (9950  ft.);  but  the  ascent  in  each  case  is  fatiguing 
(guide  12  fr.). 

631/2  M.  Roccavione  (2120  ft.),  surrounded  by  chestnut  woods, 
with  a  ruined  castle.  The  train  enters  the  valley  of  the  Verinenagna, 
enclosed  by  wooded  heights,  Tarying  with  precipitous  limestone 
cliffs.  Numerous  tunnels.  —  70  M.  Verna7ite  (2620  ft.).  We  pass 
through  a  long  spiral  tunnel  and  across  a  lofty  viaduct. 

741/2  M.  Limone  (3300  ft. ;  Posta,  Europa,  both  plain),  a  sum- 
mer-resort with  3000  inhab.,  lies  in  an  open  stretch  of  the  valley, 
at  the  N.  base  of  the  Col  di  Tenda.  The  Gothic  parish-church  of 
San  Fietro  in  Vincoli  (1360)  contains  frescoes  of  the  15th  cent,  and 
a  pulpit  from  the  Certosa  di  Pesio  (p.  49).  —  Ascent  of  the  Besi- 
maudOj  see  p.  49. 

The  old  road  over  (he  forlified  Col  di  Tenda,  or  di  Cornio  (6145  ft.), 
where  the  Maritime  AJps  (W.)  terminate  and  the  Ligurian  Alps  (E.)  begin, 
is  now  closed  to  ordinary  traffic.  The  new  road ,  constructed  in  1883, 
penetrates  the  slate -mountains  bv  means  of  a  tunnel,  nearly  2  M.  long 
(N.  entrance  4330  ft.,  S.  entrance  "4196  ft.).  From  the  central  point  both 
ends  are  visible.  The  road  then  descends  through  the  valley  of  the  Roia 
t )  (8V2  M.)  Vievola  (see  below). 

The  railway  now  traverses  the  Tenda  Tunnel  (5  M.  long),  com- 
pleted in  1899,  and  enters  the  valley  of  the  Roia.  —  81  M.  Vievola 
(3210  ft.),  the  present  terminus  of  the  railway.  Diligence  to  Venti- 
miglia, see  p.  45. 

The  fine  Koau  to  Ventimiglia  passes  through  a  ravine,  enclosed 
by  curious  sandstone  rocks,  and  reaches  — 

21/2  M.  (from  Vievola)  Tenda  (2675  ft. ;  Alb.  Nazionale,  Savoia, 
both  very  fair;  Croce  Bianca,  Stazione,  both  plain;  diligence  to 
Nice,  see  p.  48),  a  picturesque  little  town  with  2200  inhab.,  over- 
hung by  the  precipitous  Monte  Ripa  di  Bemo  (5820  ft.).  A  few 
fragments  of  the  castle  where  Beatrice  di  Tenda  was  born  (comp. 
p.  162)  stand  on  a  rock  near  the  cemetery. 


48     Route  9.  S.  DALMAZZO  DI  TENDA. 

Excursions  (guide,  Maurizio  Sassi)  may  be  made  fi-om  Tenda  tlirough 
the  Urno  Wood  to  (4  hrs.)  the  top  of  the  Monte  Ciagore  (7525  ft.),  which 
commands  a  view  extending  to  the  sea;  to  the  N.E.,  through  the  pic- 
turesque valley  of  the  Rio  Freddo  and  over  the  (4  hrs.)  Colle  dei  Signori 
(refuge-hut),  to  the  top  of  the  (6  hrs.)  Ciina  Margarets  (8090  ft.),  the  highest 
summit  of  the  Liguriaa  Alps  ('Vievi'). 

We  now  descend  through  a  narrow  rocky  valley,  past  large 
quarries  of  pietra  vcrde,  to  — 

51/2  M.  San  Dalmazzo  di  Tenda  (2250  ft.;  Grand  Hotel,  pens, 
from  8  fr. ;  Italian  custom-housi:),  situated  amid  luxuriant  groves 
of  chestnut,  with  several  villas  and  an  old  Carthusian  abbey.  Some 
interesting  caves  have  recently  been  discovered  in  the  vicinity. 

About  2  M.  to  the  E.  of  San  Dalmazzo  lies  Briga(2^Cfy  ft.;  Hotel  de  la 
Source,  well  spoken  of),  in  the  valley  of  the  Levema,  with  an  interesting 
church.  A  little  to  the  S.  is  the  pine-forest  of  Find.  —  A  bridle-path  leads 
to  the  W.  to  (3  hrs.)  Casterino  (5110  ft.;  good  accommodation),  in  an 
attractive  valley,  surrounded  by  larcU-vvoods.  Excursions  (guides)  may 
be  made  from  this  point  past  the  old  zinc,  silver,  and  lead  mine  of  Vallauria, 
once  worked  by  the  Saracens,  to  the  wild  Valle  delf  Inferno,  strewn  with 
huge  block.s  of  rock  and  containing  14  small  lakes,  and  on  to  (3  hrs.)  the 
Meraviglie  (7213  ft.),  rock."!  of  slate  in.scribed  with  rude  drawings  of  unknown 
antiquity;  via  the  Fontanalba  Valley,  with  similar  drawing.'^,  to  the  (5  hrs.) 
top  of  the  Monte  Beyo  (9425  ft.),  which  commands  a  splendid  view  of  the 
Alps,  Nice,  and  the  Riviera  (a.'Cent  fatiguing  but  not  difficult);  and  to 
the  three  large  mountain-lakes  of  Valmasca,  which  lie  in  a  rocky  solitude, 
one  above  another,  the  largest  (2V2  hrs. ;  toilsome  walk)  at  a  height  of 
7675  ft.  at  the  foot  of  the  Mle.  Ciamineias  (9556  ft.). 

Near  the  (8  M.)  French  frontier  the  valley  contracts  to  the  *Gola 
di  Oaudarena,  one  of  the  most  imposing  gorges  of  the  Alps,  so  nar- 
row at  places  as  barely  to  leave  room  for  river  and  road  between 
the  perpendicular  rocks  (700-800  ft.).  —  At  (IO1/2  M.)  Fontana 
(Fr.  Fontan,  1424  ft.),  with  the  French  custom-house,  the  scenery 
assumes  a  more  southern  character  and  the  first  olives  appear. 
Farther  on  Saorgio  (Fr.  Saorge;  1830  ft.),  on  a  lofty  rocky  terrace  to 
the  left,  with  the  ruins  of  a  castle  destroyed  by  the  French  in  1702, 
commands  the  road.    Adjacent  is  a  former  monastery. 

At  (151/0  M.)  La  Giandola  (1250  ft. ;  Hotel  desEtrangers-Poste), 
situated  in  a  green  valley  at  the  foot  of  bare  cliffs  of  slate,  the  roads 
to  Nice  and  Ventimiglia  part  company. 

The  Road  to  Nice  (38  M. ;  diligence  from  Tenda  once  daily  in  11  hrs.) 
leads  over  the  Col  di  Brouis  (2748  ft.)  to  Sospello,  Fr.  Sospel  (1175  ft.;  Hotel 
de  France),  and  then  over  the  Col  de  Braus  (827S  ft.)  to  LEscarhie  (Ital. 
Scarend).  Finally  we  descend  along  the  Paillon.  —  Comp.  BaedekerU  Southern 
France. 

The  road  to  Ventimiglia  follows  the  picturesque  valley  of  the 
Roia,  passes  the  little  town  oi  Breglio  ov  Br eil  (Jidt.  de  France, 
very  fair),  with  the  ruined  castle  of  CriveUa ,  and  regains  Italian 
soil  (custom-house).  It  then  threads  two  tunnels,  below  the  rocky 
nest  of  Plena,  and  farther  on  traverses  the  villages  of  (23  M.)  San 
Michele  and  (26  M.)  Airole. 

32'/2  M.  VentimigUa,  see  p.  106. 


49 
10.  From  Cuneo  to  Bastia  (Turin,  Savona). 

23  M.  Kailwat  in  IV2  hr.  (fares  4  fr.  30,  3  fr.  5,  1  fr.  95  c). 

Cuneo,  see  p.  46.  —  From  (5  M.)  Beinette  a  diligence  runs  thrice 
daily  to  (3  M.)  the  little  town  of  Chiusa  di  Peslo  (1950  ft.),  at  the 
mouth  of  the  Pesio  Valley;  and  in  summer  another  omnibus  runs 
daily  (6.46  p.m.;  fare  1  fr.)  to  the  secularized  Certosa  di  Pedo, 
which  lies  about  6  M.  farther  to  the  S. 

The  "Certosa  di  Pesio  (3190  ft.),  in  the  lonely  and  well-wooded  Val 
Pesio,  was  founded  in  ilTii,  and  is  now  a  hydropathic  and  pleasant  health- 
resort  open  from  June  lat  to  the  end  of  Sept.  (pens.  6-10  fr.).  An  excursion 
maj'  be  made  hence  to  the  Sources  of  the  Fesio  (590U  ft.),  in  a  rocky  ravine 
below  the  steep  N.  side  of  the  Cima  Mar<jareis  (p.  48).  The  Certosa  is  also 
the  starting-point  for  the  ascent  of  the  CoHe  del  Mascherone  (5900  ft.),  with 
its  large  alpine  meadows,  and  of  the  ~ Besimauda  (7885  ft.),  commanding 
a  splendid  view  of  the  valley  of  the  Po  and  the  Ligurian  Alps  (mule-path, 
4  hrs. ;  descent  to  Linioue,  see  p.  47). 

17  m.  Mondovi  (1835  ft. ;  Tre  Limoni  d'Oro,  mediocre),  a  town 
of  9200  inhab,,  was  the  seat  of  a  university  from  1560  to  1719. 
From  the  Breo,  or  lower  and  industrial  part  of  the  town,  a  cable- 
tramway  ascends  to  the  Piazza,  or  upper  part  of  the  town,  with  the 
Cathedral  (16th  cent.)  and  a  monument  to  Francesco  Beccaria,  the 
physicist  (1716-81).  The  Belvedere  (1873  ft.),  with  its  Gothic 
tower,  commands  a  splendid  view  of  the  Alps. 

From  Mondiivi  a  tramway  runs  to  (20  min.)  the  ' Santuario  di  Vico, 
a  huge  domed  structure,  erected  in  1596-1736  from  the  plans  of  Ascanio 
Vittozzi.     It  contains  the  tomb  of  Charles  Emmanuel  I.  (p.  26). 

From  Mondovi  a  railway  runs  to  (15'/-.;  M.)  Fossano  (p.  46)  to  the  N., 
and  to  the  S.W.  ascends  the  valley  of  the  Ellevo,  passing  (3^4  M.)  Frabosa- 
Bossia,  to  (4'/2  M.)  Villanova  Mondovi  (2010  ft.;  inn),  a  picturesque  little 
town  on  the  slope  of  the  Monte  Calvario  (2410  ft.;  view).  About  l'/4  M.  to 
the  W.  of  Villanova,  and  reached  from  the  Ouneo-Beinette  road  by  a  steep 
zigzag  path  in  a  few  minutes,  is  the  Qrotta  dei  Dossi,  rendered  accessible 
in  1893  (adm.,  May-Oct.,  1  fr.).  An  exploration  of  the  cave  takes  about 
Vahr.  (electric  light).  —  About  11  M.  to  the  S.  of  the  Frabosa-Bossea  sta- 
tion, in  the  beautiful  Valle  di  Corsaglia,  is  the  much  finer  ^Orotta  di  Bossia, 
which  is  illuminated  with  ma^nesium-Ught.  It  is  reached  in  3-4  hrs.,  via 
(5  M.)  Frabosa-  Sottana  and  the  summer-resort  of  (7  M.)  Frabosa-  Soprana 
(2900  ft. ;  Alb.  Gastone,  clean).  The  cave  is  open  from  June  to  Oct.  (adm. 
21/4  fr.,  parlies  cheaper;  no  fees);  the  inn  beside  it  is  open  from  July  20th 
to  the  beginning  of  September. 

Steam  Tramwat  from  Mondovi  to  San  Michele  in  */4  hr.  From  S.  Michel  e 
a  diligence  runs  to  Ceva  (p.  50). 

23  M.  Bastia,  on  the  railway  from  Turin  to  Savona,  see  p.  50. 


11.  From  Turin  to  Genoa. 

a.  Yi&  Btk  and  Savona. 

From  Turin  to  Savona,  gO'/x  M.,  in  41/4-6  hrs.  (fares  16  fr.  95,  11  fr.  90, 
7  fr.  65  c. ;  express  18  fr.  65,  13  fr.  5,  8  fr.  50  c.) ;  thence  to  Genoa,  26V2  M., 
in  IV4-I3/4  br.  (fares  5  fr.,  3  fr.  50,  2  fr.  25  c. ;  express  5  fr.  50,  3  fr.  85  c). 
Finest  views  to  the  right. 

From  Turin  to  Trofarello,  8  M.,  see  p.  51.  —  12 V2  M.  Villa- 
sleUone. 

Baedeker.     Italy  I.    I3th  Edit.  4   5 


50     };oule  71.  BRA,  From  Turin 

18  M.  Carmagnola  (785  ft.),  with  3200  inhab.,  was  the  birth- 
place (1390)  of  the  famous  coudottiere  Francesco  Bussone,  son  of 
a  swineherd,  usually  called  Count  of  Carmagnola,  who  reconquered 
a  great  part  of  Lombardy  for  Duke  Filippo  Maria  Viscoiiti,  and  be- 
came Generalissimo  of  the  Republic  of  Venice  in  1426.  At  length 
his  fidelity  was  suspected  by  the  Council  of  Ten,  and  he  was 
beheaded  on  5th  May,  1432.  Bussone'sfate  is  the  subject  of  a  tragedy 
by  Manzoni,  —  The  'Carmagnole',  the  celebrated  republican  dance 
and  song  of  the  French  Revolution,  was  named  after  this  town,  the 
home  of  many  of  the  street-musicians  of  Paris.  —  Steam-tramway 
to  Carignano  (p.  42)  and  Turin.  —  To  Cuneo  (Ventimigiia),  se(; 
pp.  45-48. 

31  M.  Brh.  (910  ft.;  11,300  inhab.),  with  a  busy  trade  in  wine, 
cattle,  truffles,  and  silk,  is  situated  on  the  S.  spurs  of  the  Colli 
Torinesi  (p.  29),  which  here  approach  the  Apennines.  Braiich  to 
Cavallermaggiore,  see  p.  45. 

From  Bra  to  Alessandria,  53  M.,  railway  in  S'/^-S'A  hrs.  (fares  9  fr. 
'JU,  6  fr.  95,  4  fr.  45  c).  —  4V2  M.  Santa  Vittoria;  pleasant  excursion  thence 
to  the  royal  chateau  of  Pollemo,  with  the  remains  of  the  Itoman  town  of 
Pollenlia.  —  11  W.  Alba  {5G5  ft.  ;  Alb.  del  Cannon  cTOro;  Buoi  Bossi^  etc.), 
with  8300  inhab.;  the  cathedral  of  San  Lorenzo  dates  from  the  15th  cent- 
ury. Wine-growing  ('Barbaresco'  and  'Barolo',  p.  xxiii)  and  the  rearing  of 
silk-worius  flourish  in  the  environs.  —  lO'/^  M.  Cas(u<jnole  Lame;  branch- 
line  to  Aiti  {p.  51).  We  next  traverse  a  fertile  wine-country.  —  25'/2  M.  Santo 
S  efano  Belbo,  on  the  BelOo,  the  valley  of  which  the  train  traverses  for 
some  distance.  —  34  M.  Nizza  Monferrato,  also  on  the  Asti-Ovada-Genoa 
lino  (p.  52).  —  48  M.  Cantalupo  and  thence  to  (53  M.)  Alessandria.,  see  p.  53. 

36  M.  Cherasco,  at  the  confiuence  of  the  Tanaro  (p.  51)  and  the 
Slura,  is  not  seen  from  the  line,  which  ascends  the  former. 
53  M.  Baslia,  the  junction  of  the  line  to  Cuneo  (R.  10). 
62'/2  M.  Ceva  (1270  ft.),  on  the  Tanaro,  with  an  old  castle. 

From  Ckva  to  Ormea,  221/2  M,,  railway  in  IV4-2V2  '»rs.  (fares  4  fr.  20, 
2  fr.  95,  1  fr.  90  c).  —  The  train  ascends  the  valley  of  the  Tanaro,  intersect- 
ing the  ridges  of  the  Brianronnais  zone  (p.  45).  —  Beyond  (il^/'- M. )  Priohi 
a  picturesque  ruined  castle  appears  on  the  left.  ■ —  15V2  M-  Gnressio  (1950  ft. ; 
Leon  d'Oro ;  Rosa  Rossa),  with  a  ruined  castle  and  marble  quarries,  is 
connected  with  (21 '/2  M.)  Albenga  (p.  97)  by  a  road  crossing  the  pass  of  San 
Bernardo  (3105 ft.).  —  221/2  M.  Ormea  (2398  ft. ; '  Grand-IIdtel,  with  hydropnthic, 
pens,  from  7  fr. ;  Albert/a  Na-ionale),  an  ancient  and  picturesque  little  town, 
with  a  ruined  castle  and  marble  quarries,  is  frequented  as  a  summer- 
resort.  Pleasant  excursions  may  be  made  to  the  (1''4  hr.)  stalactite  cavern 
of  Nava,  and  through  the  rocky  gorges  of  the  Negrone  to  (4  hrs.)  Vioze.ne{inn\ 
guides).  From  Viozene  we  may  ascend  the  Mongioie  (8630  ft. ;  3  his.),  the 
Pizzo  d'Orme.!  (8125  ft.:,  41/2  brs.),  and  \\i&  Armetta  (5705  ft.;  3  brs.),  on  the 
light  bank  of  the  Tanaro;  or  visit  the  meadows  on  the  Monte  Antoroto 
(7035  ft  ;  rich  Alpiae  flora)  and  proceed  via  the  (3V4  hrs.)  CoUe  di  Termini 
(6660  ft.)  to  the  (2'/2  hrs.)  Orotta  di  Bossia  (p.  49).  On  all  these  excursions 
we  enjoy  flne  views  of  the  Ligurian  Alps  and  the  sea,  and  of  the  valley 
of  (he  Po  with  the  Alps  in  the  distance.  —  From  Ormea  a  picturesque  road 
leads  across  the  fortified  Colle  di  JSava  (3074  ft.)  and  past  the  prettily  situated 
village  of  Pieve  di  Teco,    in  the  Arroscia  valley,  to  (31  M.)  Oneglia  (p.  89). 

The  train  passes  under  the  castle  of  Ceva  by  a  tunnel  and  begins 
to  cross  the  Ligurian  Alps ,  the  most  imposing  part  of  the  line. 
Between  this  point  and  Savona  are  numerous  viaducts  and  28  tunnels. 


to  Genoa.  ASTI.  11.  Route.     51 

The  train  quits  tbe  Tanaro  and  ascends.  Beyond  (BB'/o  M.)  Sale 
delle  Langhe  is  the  Galleria  del  Belbo,  a  tunnel  upwards  of  3  M.  in 
length,  the  longest  on  the  line.  731/2  M.  Cengio,  in  the  valley  of 
the  Bormida  di  Millesimo. 

79  M.  San  Giuseppe  di  Cairo  (1120  ft.),  on  the  Bormida  di  Spigno, 
through  the  valley  of  which  the  Acqui  railway  descends  (see  p.  52). 

Interesting  journey  amid  the  deep  ravines  and  precipices  of  the 
Apennines.  Tunnels  and  viaducts  in  rapid  succession.  871/2  M- 
Santuario  di  Snvona,  a  pilgrimage-church,  founded  in  1536. 

901/2  M.  Savona,  and  thence  to  Genoa,  see  pp.  96-94. 

b.  ViS,  Acqui  and  Ovada. 

99V2M.  Railwai  in  6-8^4  hrs.  (fares  18  fr.  60,  13  fr.,  8  fr.  40  c.). 

The  line  at  first  runs  at  some  distance  from  the  left  bank  of  the 
Po,  crosses  its  affluent  the  Sangone  (beyond  which  the  branch-line 
to  Pinerolo  diverges,  p.  44),  and  then  the  Po  itself  by  a  bridge  of 
seven  arches.  —  5  M.  Moncalieri,  commanded  by  royal  chateau 
(p.  42).  A  final  retrospect  is  now  obtained  of  the  hills  of  Turin, 
and  of  the  snowy  peaks  of  the  Alps  to  the  left. 

8  M.  Trofarello  is  the  junction  for  branch-lines  to  Savona  and 
Cuneo-Vievola  (RR.  11a,  9). 

The  line  from  Turin  to  (IS'/a  M.,  in  ca.  3/i  hr.)  Cuieri  also  diverges 
at  TrofarelU'.  —  Chieri  (950  ft.),  an  industrial  town  with  11,900  inhab., 
contains  a  Gotliic  Cathidral  (14th  cent.)  and  a  freely  restored  octagonal 
Baptistery  (13th  cent.),  with  an  altar-pieco  by  Defendente  de  Ferrari.  —  A 
pretty  road  (diligence  twice  daily  in  IV^l'A  hr.)  leads  to  (he  E.  tVom 
Chieri,  through  an  undulating  wine  growing  di-trict,  to  Castelnuoio  (TAsti 
(775  ft.).  This  is  within  an  hour's  drive  o(  the  {ormer  Abbazin  di  Vezzolano 
(said  to  have  been  founded  by  Charlemagne),  the  Romanesque  church  of 
which  (l'2thcent. ;  interior  recently  restored)  has  an  interesting  sculptured 
portal  and  contains  a  fine  rood-lnft  and  frescoes  of  the  15th  century.  The 
adjoining  cloisters  are  partly  Gothic. 

Beyond  (I91/2  M.)  Villanova  d'Asti  (853  ft.)  the  line  enters  the 
fertile  uplands  of  the  Colli  Torineai  (p.  29).  —  301/2  M.  San  Damiano. 
The  train  then  crosses  the  Borbore  and  reaches  the  valley  of  the 
Tanaro^  which  flows  down  to  the  Po  through  the  valley  between 
the  Colli  Torinesi  and  the  Apennines. 

35  M.  Asti  (395  ft.;  Albergo  Reale;  Leon  d'Oro ;  Rail.  Restau- 
ranf),  the  ancient  ^sta,  a  mediieval-looking  town  with  18,900  inhab. 
and  numerous  towers,  is  famous  for  its  sparkling  wine  (Asti  spumante) 
and  its  horticulture.  The  left  aisle  of  the  Gothic  Cathedral^  erected 
in  1348,  contains  two  altar-pieces  by  a  master  of  the  school  of  Ver- 
celli.  The  adjacent  church  of  San  Giovanni  (the  sacristan  of  the 
cathedral  keeps  the  key)  is  built  over  an  ancient  Christian  basilica, 
part  of  which  has  again  been  rendered  accessible,  and  has  mono- 
lithic columns  with  capitals  bearing  Christian  symbols  (Gth  cent.). 
In  the  Piazza  Allieri  is  a  statue  of  the  poet  Alfieri  (1749-1803);  the 
house  in  which  he  was  born  was  converted  into  an  Alfieri  Museum 
in  1901.    Near  the  Porta  Alessandria  is  the  small  octagonal  Bap- 

4* 


52     Route  11.  ACQUI.  From  Turin 

tislery  of  San  Pietro  (iiih  cent.),  borne  by  short  columns  with  square 
capitals,  and  enclosed  by  a  low  polygonal  gallery.  —  Asti  is  the 
junction  of  the  line  to  Geneva  via  Alessandria  (R.  11  c). 

From  Abti  to  Moktara  (Milan),  46  M.,  in  3V4  3V4  hrs.  (fares  8  fr.  60, 
6  fr.  5,  3  fr.  90  c).  Stations  unimportant ;  28  M.  Casale-ilonffrralo,  see  p.  G6 ; 
Mortara,  see  p.  190.  —  From  Asti  to  Castagnole  (p.  50j,  13  M.,  in  V4-IV2  br. 
—  Steam  Tramways  from  Asti  to  Corlanze,  Canale,  and  Montemagno  (p.  66). 

The  Genoa  line  now  crosses  the  Tanaro  and  near  (881/2  M.) 
San  Marzanotto-Rivi  reaches  the  wine-growing  hill-district  of  the 
Colli  Astigiani.  On  a  height  is  the  old  chateau  of  Bellangero.  ■ — 
4072  M.  Mongardino.  "We  thread  a  tunnel  and  enter  the  valley  of 
the  Tiglione.  —  -iB'^  M.  Agliano-Castelnuovo-Calcea,  —  The  line 
crosses  the  Belbo  and  unites  with  that  from  Brk  to  Alessandria  at 
(5OV2  M.)  Nizza  Monferrato  (p.  50),  a  town  of  9200  inhab.  —  65 1/2  M. 
Mombaruzzo,  in  the  Val  Cervino.  —  We  thread  a  long  tunnel  and 
near  (581/2  M.)  Alice-Bel  Colle  reach  the  valley  of  the  Medrio. 

631/2  M.  Acqui  (555  ft. ;  Orand  Hotel ;  Mora ;  Italia;  Alb.  Nazio- 
nale),  the  Aquae  Stiiiellae  of  the  Romans,  an  episcopal  town  on  the 
Bormida,  with  9500  inhab.,  is  known  for  its  warm  saline  sulphur 
springs  (84-167°),  efficacious  against  rheumatism.  The  Vecchie 
Terine,  beyond  the  Bormida,  are  used  in  summer  (June-Sept.),  the 
Nuovz  Terine,  in  the  town,  in  winter.  The  Cathedral  (12th  cent.) 
has  double  aisles.  Good  wine  is  produced  in  the  vicinity.  —  To 
Alessandria  and  Savona,  see  p.  53. 

We  cross  the  Bormida  by  a  bridge  of  15  arches.  65  M.  Visone; 
671/2  M.  Prasco-Cremolino.  The  tunnel  of  Cremolino,  2  M.  long, 
brings  us  to  the  valley  of  the  Orba,  an  affluent  of  the  Tanaro.  — 
721/2  M.  Ovada  (610  ft.),  a  town  with  8600  inhab.,  at  the  confluence 
of  the  Stura  with  the  Orba.  Branch-railway  to  Alessandria  (p.  53) 
under  construction.    Steam-tramway  to  Novi,  see  p.  53. 

We  now  ascend  the  pretty  valley  of  the  Stura.  771/2  M.  Rossig- 
lione  (984  ft.).  —  Numerous  viaducts  and  tunnels.  Beyond  (81 1/2  M.) 
Campoliyure  (1166  ft.),  the  highest  point  of  the  line,  it  pierces  the 
crest  of  the  Apennines  by  the  Qalleria  del  Turchino  (3  M.  long). 
Overhead  is  the  pass  of  the  same  name  (1745  ft.).  We  then  descend 
to  (851/2  M.)  Mete,  about  3  M.  above  Voltri  (p.  95). 

Farther  on  the  line  skirts  the  slopes  of  the  mountains.  88  M. 
Acquasanta;  92  M.  Oranara;  941/2  M.  Borzoli.  Several  fine  views 
of  the  sea  are  obtained  to  the  right.  —  971/2  M.  San  Pier  d^ Arena, 
and  thence  to  Genoa,  see  p.  94.  —  991/2  M.  Genoa,  see  p.  75. 

c.  Yik  Alessandria  and  Novi. 

103  M.  Railway  in  3-8'/2  hrs.  (fares  19  fr.  30,  13  fr.  50,  8  fr.  70  c. ;  ex- 
press 21  fr.  20,  14  fr.  85  c.  ;  by  the  Paris-Eome  'train  de  luxe'  28  fr.  65  c).  — 
Holders  of  through- tickets  to  San  Remo  and  Ventimiglia  change  carriages 
at  San  Pier  d'Arena. 

From  Turin  to  (35  M.)  Asti,  see  R.  lib.  —  Thence  our  line 
ascends  the  valley  of  the  Tanaro.  —  47  M.  Felizzano.    Country  flat 


to  Genoa.  ALESSANDRIA,  11.  Route.    53 

ajid  fertile.  Near  Alessandria  the  line  to  Bellinzona  and  Arona 
(R.  30)  diverges  to  the  N.    We  cross  the  Tanaro. 

5672  M.  Alessandria  (310ft.;  Rail.  Restaurant;  H6t.  de  V Europe, 
R.  from  2'/2,  omn.  3/4  fr.,  very  fair;  Hot.  Grand  Mogol  et  dea  Etran- 
gers,  well  spoken  of;  Alb.  di  Londra^,  an  industrial  town  with 
35,900  inhah.,  situated  on  the  Tanaro  in  a  well-watered  district,  is 
the  capital  of  a  province.  It  was  founded  in  1168  by  the  Lombard 
towns  allied  against  the  Emp,  Frederick  Barbarossa,  and  named 
after  Pope  Alexander  III. 

Alessandria  teing  a  junction  of  several  lines,  carriages  are  generally 
clianged  here.  Railway  lo  Vercelli  ^ia  Valenza,  see  p.  66;  \ia  Novara  to 
Bellinzona  ;  nd  to  Arona,  see  pp.  J90,  189;  to  Slilan  via  M' rtcra  rnd  Vige- 
varo,  see  p.  190;  to  Pa'*  ia  via  Torre  Berretii ,  see  p.  205;  to  P^acenza, 
Parma,  Bologna,  etc.  see  RR.  49  ;.nd  50;  to  IJra  (Cavallermaggiore),  see 
p.  EO.     Branch  lire  to  Ovada  (p.  52)  under  construction. 

Steam  Tkamwats  from  Alessandria  via.  JIarengo  to  Sale  (p.  206),  to 
Casale-ifonferralo  (p.  66),  to  Mandrogne  via  Spinetla  (p.  357),  and  to  Monte- 
magno  (p.  66)  via  AUaviUa. 

Fbom  AiESSASDRiA  TO  Savona  (via  Acqui),  65  JI.,  in  about  4Vi-4V2  t>rs. 
(fares  12  fr.  20,  8  fr.  55,  5  fr.  50  c).  —  As  far  as  (5  M.)  Cantalupo  the  line 
is  the  same  as  to  Bra  (see  p.  50).  —  21  M.  Acqui,  also  a  station  on  the 
railway  from  Asti  to  Ovada  and  Genoa  (see  p.  52).  —  The  line  ascends  the 
valley  of  the  Bormida,  passing  through  ten  tunnels.  Stations  of  little  im- 
portance.    52  31.  San  Giuseppe  di  Cairo,  see  p.  51.  —  65  M.  Savona,  see  p.  96. 

The  line  quits  the  Tanaro  valley  and  crosses  the  Bormida.  About 
1  '/4  M^-  to  the  E.  of  the  bridge,  in  the  plain  between  the  Bormida  and 
the  Scrivia,  lies  the  village  of  Marengo,  near  which,  on  14th  June, 
1800,  Napoleon  defeated  the  Austrians  in  a  momentous  battle. 

69  V2  ^i-  Novi  Ligure  (^645  ft. ;  Hot.  Novi),  a  town  with  17,900  in- 
hab.,  commanded  to  the  right  by  hills  with  a  belvedere-tower,  was 
the  scene  of  a  victory  gained  by  the  Austrians  and  Russians  under 
Suvoroff  over  the  French  on  15th  Aug.,  1799. 

Branch-line  to  Pavia  and  Jlilan  via  Torlona  and  Vogheia,  see  R.  32. 
Steam-tramway  to  Ovada,  see  p.  52. 

At  (74  M.)  Serravalle  Scrivia  the  train  enters  a  mountainous 
region.  —  77  M.  Arquata  (820  ft.),  with  a  ruined  castle.  Between 
this  and  Genoa  there  are  twenty-four  tunnels.  The  train  threads 
its  way  through  rocky  ravines  (la  Bocchetta)  and  over  lofty  embank- 
ments, crossing  the  Scrivia  several  times.  Scenery  imposing.  — 
83  M.  Jaola  del  Cantone;  on  the  hill  to  the  right  a  ruined  castle, 

85'/2M-  Konco(1065ft.). 

AtRoECo  the  old  line  via  Bttsalla,  which  some  trains  follow,  diverges 
to  the  Uft  frfm  the  main  line.  Beyond  Busalla  it  passes  three  manu- 
factuiing  places  on  the  left  bank  of  the  Pol  evera  (see  beli.w):  Pontedecimo 
(tramway  to  Genoa,  p.  77),  with  jute-spinning  and  weaving  indu.'^tries, 
Bolzanelo ,  with  a  .«ugar-rifineiy  and  a  corn-mill,  and  Rnarolo,  with  a 
sugar-refinery  and  a  S'  ap- factory.   —  I5V2  M.  Son  Piei'  d''Arenfi  (p.  54). 

The  main  line  enters  the  Ronco  Tunnel,  upwards  of  5  M.  in 
length,  and  then  descends  the  narrow  Polcevera  Valley  through  num- 
erous viaducts  and  cuttings.  —  9172  ^-  Mignanego;  9572  M.  San 
Quirico.  The  valley  expands;  its  well-cultivated  slopes  are  dotted 
with  the  summer-villas  of  the  Genoese.  —  We  cross  the  river. 


54    Route  VJ.  IVREA. 

101  M.  San  Pier  d'Arena  (p.  1)4;  Rail.  liestauriint,  dej.  cJi/i, 
D.  31/2-41/2  ff-)  iiicl.  winej.  On  the  right  are  the  lighthouse  and 
the  rocky  headland,  mentioned  on  p.  91  ,  below  vfhich  the  train 
passes  by  a  tunnel. 

103  M.  Genoa,  see  p.  76. 

12.  From  Turin  to  Aosta  and  Courmayeur. 

Railway  to  (80  M.)  Aosta  in  3i/i-5V2  hrs.  (fares  15  fr.,  10  fr.  50,  6  fr.  15  c. ; 
express  train  in  summer  only).  The  part  of  the  line  between  Ivrea  and 
Aosta  (411/2  M. ;  fares  7  fr.  80,  5  fr.  45,  3  fr.  50  c.)  is  distinguished  both  by 
the  beauty  of  the  scenery  and  the  boldness  of  its  engineering.  —  From 
Aosta  to  Courmayeur,  21  M.,  Omnibus  4  times  daily  in  July  and  Aug.  (at 
other  times  twice  daily)  in  0  hrs.  (return  4'/2  hrs.),  fare  5  fr.  (outside  seat 
6  fr.) ;  each  trunk  1  fr.  One-horse  carr.  15,  two-horse  25  fr.  —  Comp.  the 
Map  p.  60. 

From  Turin  to  (18  M.)  Chivasso,  see  pp.  65,  66.  —  The  line  to 
Aosta  here  diverges  to  the  N.  from  that  to  Milan.  Between  the  de- 
pressions of  the  lower  mountains  peep  tlie  Gran  Paradiso,  and  to  the 
E.,  farther  on,  Monte  Rosa.  —  Beyond  (261/2  M.)  Caluso  Canavese 
the  train  traverses  a  tunnel  below  the  Moraine  Circus  of  Ivrea,  the 
name  given  to  the  chain  of  hills  (12  M.  by  18  M.)  on  the  S.  side  of 
the  former  Dora  glacier,  which  projects  in  the  form  of  a  delta  into 
the  plain  of  the  Po.  Behind  the  hills  a  mossy  and  swampy  region 
with  numerous  ponds  marks  the  site  of  an  ancient  moraine-lake. 
Beyond  (33  M.)  Strambmo  we  cross  the  Chiusella.  To  the  E,  rises 
the  Serra  d'lvrea  (see  below). 

381/2  M.  Ivrea  (876  ft. ;  *Alb.  Scudo  di  Francia,  with  tourist- 
office,  R.  from  2,  de'j.  2'/27  D-  ^  fi'-i  incl.  wine;  Hot.  Vniverso;  Alb. 
d' Italia,  etc.),  the  capital  of  the  Canavese,  is  a  town  with  6000  inhab., 
picturesquely  situated  on  the  Dora  Baltea  (Fr.  Doire').  The  hill,  on 
the  slope  of  which  it  lies,  is  crowned  by  the  Castello  delle  Quattro 
Torri,  built  by  Amadeus  VI,  (p.  26)  in  1358,  and  now  a  prison. 
Only  three  of  the  lofty  brick  towers  remain,  the  fourth  having  been 
destroyed  by  lightning  in  1676.  The  Cathedral,  a  building  of  an- 
cient origin  but  frequently  restored,  is  adjoined  by  cloisters  of  the 
10-llth  centuries.  An  ancient  sarcophagus  adorns  the  adjoining 
Piazza.  In  the  Palazzo  Municipale  is  the  small  Museo  Garda,  with 
ethnographical  collections  from  E.  Asia.  —  Ivrea,  the  ancient  Epo- 
redia,  was  colonised  by  the  Romans,  B.C.  100,  in  order  to  command 
the  Alpine  routes  over  the  Great  and  Little  St.  Bernard.  Of  the 
marquises  of  Ivrea  the  best-known  are  Berengar  II.  (d.  966)  and 
Arduin  (d.  1016),  who  obtained  the  Italian  crown  at  Pavia  (p.  202). 

Pleasant  walk  to  the  Madonna  del  Monte  (pilgrimage- church)  and  the 
Lago  Sirio  or  Zago  di  iSan  Giiisejipe. 

Steam-tramway  from  Ivrea  in  2  hrs.  to  (I8V2  M.)  lianthiii,  (p.  68;  fares 
1  fr.  80,  1  fr.  50  c).  The  line  runs  near  the  S.W.  edge  of  the  Serra,  a 
hilly  ridge  10  M.  in  length,  the  longest  moraine  in  Europe,  at  one  time 
the  lateral  moraine  of  the  glacier  of  the  Dora  valley. 

The  train  penetrates  the  hUl  on  which  Ivrea  stands  by  means  of 
a  tunnel,  1200  yds.  long,  and  ascends  the  fertile  valley  of  the  Dora. 


VERRES.  7^,  Route.     55 

41  M.  MonlaUo  Dora,  with  a  battlemented  castle  (l'2-15tli  cent.).  — 
43  M.  Borgofranco  (830  ft.)  has  arsenical  springs. 

49  M.  Pont-St-Martin.  The  village  (1030  ft.;  Hol.-Pens.  Dela- 
pierre,  very  fair),  with  a  ruined  castle,  foundries,  and  a  Roman 
bridge  over  the  Lys,  is  picturesquely  situated  at  the  mouth  of  the 
Val  Gressoney,  1  M.  from  the  station. 

In  the  beautiful  Val  Gressoney  a  good  road  (ciiligence  to  Gressoney- 
St-Joan  in  summer  twice  daily  in  5V2  hrs.)  ascends  through  chestnut-woods 
via  LiUianes  and  FoiHainemore  to  (17  M.)  Issime  (30-0  ft. ;  "Eot.  Mont-Siry, 
R.  2-;!,  pens.  6  8  fr.),  whence  the  "Punta  Frudiera  (^Mont  Niry ;  10,070  ft.), 
with  splendid  view,  may  be  ascended  via  the  CoUe  di  Chasten  in  7-8  hrs. 
(guiile  12  fr.).  Thence  via  Oaby  (3395  ft.;  Grand-Hotel  Rezina)  to  (11  M.) 
Gressoney-St-Jean  (4.545  ft. ;  ' Hotel  Delapierre,  R.  2-3V2,  D.  41/2,  pens.  8-10  fr. ; 
•mtel  du  Lyskamm,  R.  4-6,  D.  5  fr. ;  Sdtel  du  Moni-Eose,  R.  2-8,  pens.  5-8  ir.), 
the  capital  of  the  valley,  and  past  the  (13y2  M.)  prettily -situated  "Hotel 
Pens.  Miravalle  (5270  ft.  ;  R.  3-5.  D.  4,  pens.  10-14  fr.)  to  (15  M.)  Gressoney- 
la-Trinite  (5370  ft.;  HiH.-Pens.  Thidy,  R.  2V2-3'/2,  I>.  5  fr.  ;  Hitel  du  Lac), 
fho  last  village,  l'>nely  situated  near  the  glaciers  of  Hlonte  Rosa.  Gressoney- 
St-Jean  and  La  Trinite  are  both  much  frequented  by  summer-visitors  aud 
mountaineers  (for  details,  see  Baedeker's  Switzerland').  Bridle-path  over  the 
Col  d'Olen  to  (6-7  hrs.)  Alagna,  see  p.  72. 

We  next  cross  the  Lys  and  follow  the  broad  valley,  flanked 
by  line  moimtalns ,  to  (601/2  M.)  the  prettily- situated  Donnaz 
(1056  ft.;  Rosa).  The  train  now  ascends  a  rocky  defile  and  passes 
through  a  tunnel  under  Fort  Bard  (1282  ft.),  which  was  built  iu  the 
beginning  of  the  11th  cent,  and  was  taken  in  1242  by  Amadeus  IV. 
of  Savoy  after  a  long  siege,  while  in  May.  1800,  before  the  battle  of 
Marengo,  it  was  gallantly  defended  by  400  Austrians,  who  kept  the 
French  army  in  check  for  a  week.  The  train  then  crosses  the  Dora 
to  (52  M.)  Hone-Bard,  beautifully  situated.  On  the  left  opens  the 
Val  diCamporciero,  or  Champorcher,  with  its  fine  rocky  peaks  (p.  62); 
to  the  N.W.  towers  the  Becca  di  Liiseney  (11,500  ft.).  —  The  train 
intersects  a  cone  of  de'bris  on  the  left  bank  of  the  Dora.  —  54^/2  M. 
Arnnz,  with  a  ruined  castle. 

56'/2  M.  Verrds.  The  village  (1280  ft.;  Alb.  d' Italia,  very  fair; 
Hot.  Eden;  Alb.  degli  Amici),  with  1100  inhab.  and  an  old  castle 
(Rocca)  of  the  former  Counts  of  Challant  (built  in  1390,  refortifltd 
in  1636),  lies  picturesquely  at  the  entrance  of  the  Val  Challant, 
3/4  M.  from  the  station.  Opposite,  on  the  right  bank  of  the  Dora, 
lies  Issogne,  also  with  an  interesting  *Chateau  of  the  Counts  of 
Challant  (ca.  1480;  interior  tastefully  restored).  To  the  N.E.,  be- 
tween the  Challant  and  Gressoney  valleys,  towers  the  rocky  pyramid 
of  the  Becca  di  Vloti  (9948  ft.). 

The  valleys  of  Aosta  and  Susa  (p.  44)  were  alternately  occupied  by 
the  Franks  and  the  Longobards,  and  belonged  to  the  Franconian  Empire, 
in  consequence  of  which  a  South  French  dialect  (langue  ralddtaine)  still 
predominates  in  these  Italian  districts.  The  village  of  Bard  (below  the  fort) 
is  the  point  of  transition  from  Italian  to  French. 

Above  Verres  the  valley  expands,  but  soon  contracts  again.  Ex- 
tensive vineyards  are  passed.  We  cross  the  Evan^on  and  the  Dora. 
On  the  slope  to  the  left  is  the  village  of  Champ  de  Praz.  lying  at 
the  entrance  of  the  ValChalame,  the  torrent  of  which  has  overspread 


56     Route  12.  CHATILLON.  From  Turin 

the  valley  of  the  Dora  with  detritus.  Farther  on  lofty  walls  of  rock 
rise  to  the  left.  —  Near  (60  M.)  Montjovet  appear  on  the  right, 
high  above  ns,  the  extensive  rnlns  of  the  chateau  of  Montjovet  or 
St.  Oermain.  The  train  crosses  the  Dora  hy  means  of  a  long  viaduct 
and  enters  the  picturesque  *Defile  of  Montjovet,  the  grandest  part 
of  the  line,  with  a  succession  of  tunnels  and  buttresses  of  masonry, 
and  the  brawling  Dora  far  below. 

631/2  M.  St.  Vincent  (1415  ft.),  at  the  end  of  the  defile.  To  the 
right,  1  M.  above  the  station.  lies  the  village  (1886  ft. ;  Hot.  du  Lion 
d'Or,  very  fair;  Scudo  di  Francia;  Corona;  hotels  generally  closed 
in  winter);  8/4  M.  higher  up  (cable  railway)  there  is  a  mineral 
spring  (Grand  Hotel). 

*Mont  Zerbion  (8925  ft.),  which  may  be  aPcenJed  either  from  St.  Vincent 
iir  Chatillon,  via  the  chalets  oi  Francon  (6655  ft.),  in  5-6  hrs.,  commands  a 
magnificent  view  of  the  Alpine  chain  from  Monte  Rosa  to  Mont  Blanc  and 
of  the  Gran  Paradise  group. 

Loftily  perched  on  the  left  is  the  old  castle  of  Vssel  (ca.  1350), 
belonging  to  the  Counts  of  Challant. 

641/2  M.  Chatillon  (1807  ft. ;  H6t.  des  Alpes,  at  the  station;  *ndt. 
de  Londres,  R.  31/2,  pens.  7-10  fr.,  *H6t.  Pens.  Suisse^i  both  in  the 
town,  beside  the  bridge;  Hot.  du  Nord;  Caff e - Ristorante  Alpine , 
beyond  the  bridge),  with  3100  inhab.,  is  finely  situated  1  M.  above 
the  station,  at  the  entrance  to  the  Val  Tournanche.  Its  houses  are 
picturesquely  scattered  over  the  gorge  of  the  Matmoire  or  Marmore, 
a  torrent  descending  from  the  Matterhorn  ;  and  in  the  middle  of  the 
town  is  a  bridge  spanning  the  ravine  in  one  fine  arch. 

In  the  picturesque  and  finely  wooded  Val  Tournanche  (diligence  to 
Valtournanche  in  summer  daily  in  3^/4  hrs.;  one-horse  carriage  15,  two- 
horse  25  fr.)  a  good  road  ascends  via  (41/2  M.)  Grands-ifonlins  (3280  ft.),  where 
the  imposing  Matterhorn  suddenly  appear?,  and  (6  M.)  Fiernaz  (3445  ft. ; 
Hotel  Bellevue)  to  (111/2  M.)  Valtournanche  (5000  It.;  ""Eetel  dti  Mont-Rose, 
R.  21/2,  pens.  7-10  fr. ;  Hdl.  Meynet,  E.  2V2-3'/2,  pens.  6-9  fr.),  the  principal 
place  of  the  valley.  Bridle-path  henre  (mule  to  Giomein  8  fr.)  past  the 
interesting  GouiTre  de  BusseraiUe  (Hotel  des  Alpes)  to  (2^/2  hrsO  the  chalets 
of  Breuil  (6710  ft.;  Edtel  des  Jumeavx,  R.  3,  D.  31/2,  pens.  7-l()  fr. ;  H6(.  du 
Breuil,  R.  21/2,  !>.  3-3V2  fr.),  10  min.  above  which  is  the  *HStel  du  Mont- 
Cervin  at  Qiomein  (6880  ft.;  R.  4,  D.  5,  pens.  10-12  fr.).  Mountain-ascents, 
and  passage  over  the  Thiodule  Pass  (10,900  ft.)  to  (7-71/2  hrs.)  Zermali,  see 
Baedeker's  Switzerland. 

The  line  crosses  the  Matmoire,  traverses  a  deep  cutting  through  a 
deposit  of  debris,  threads  two  tunnels,  and  reaches  (671/2 M.)  Cham- 
have  (1565  ft.),  noted  for  its  wine.  To  the  W.  opens  the  view  of  the 
beautiful  valley  of  Aosta,  rich  in  fruit  and  surrounded  by  lofty 
mountains,  with  the  three-peaked  Rutor  (p.  64)  in  the  background. 

The  line  traverses  a  mass  of  de'bris  at  Diemoz  (viaduct  107  yds. 
long).  To  the  left  lies  the  picturesque  chateau  of  *Fenis  (with  old 
mural  paintings),  at  the  mouth  of  the  Val  de  Clavalite,  through  which 
peeps  the  snowy  peak  of  the  Tersiva  (p.  61).  —  72  M.  Nus  (1755  ft. ; 
Croce  d'Oro),  with  a  ruined  castle,  at  the  mouth  of  the  Val  St.  Bar- 
thilemy.  —  On  the  slope  above  (73i/2  M.)  St.  Marcel,  which  lies  at 
the  mouth  of  the  valley  of  the  same  name  (p.  62),  is  the  much- 


tn  Courmayeur.  AOSTA.  72.  Route.     T)? 

frequented  pilgrimage-ohurch  of  Plou.  —  75  M.  Quart-  Villefranche 
(1755  ft.),  with  the  chateau  of  Quart  on  a  hill  to  the  right  (2485  ft.). 
We  then  cross  the  Bagnere  and  the  Buthier. 

80  M.  Aosta.  —  HJT.  DO  Mont-Blanc,  at  the  W.  end  of  the  town, 
R.  3-3V2,  B.  l'/2,  1>.  5  fr. ;  *Hotel  Royal  Victoria,  opposite  the  station, 
R.  3-3V:i,  L.  Vm  a.  1,  B.  IV2,  Aij-  3,  D.  5,  pens.  incl.  wine  9-12  fr.,  these 
two  open  in  summer  only.  —  Second  class:  Albergo  Corona,  R.  2V2,  pens. 
8-10  fi-.,  Italian,  very  fair,  Hot.  Centoz,  R.  2-21/2,  pens.  6-8  fr.,  Hot.  de  la 
PosTE,  R.  2,  D.  4,  pens.  6V2-8V'2  fr.,  all  three  in  the  Piazza  Carlo  Alberto 
or  market-place;  Hot.  Suisse,  Via  delT  Ospedale,  R.  l'/i-3  fr.;  Alb.  Alpino, 
(;orso  Vittorio  Emanuele.  —  Carf^-Histo/'ante  Nazionale,  in  the  market-place. 
Beer  at  Zimmerniann's,  in  (he  Via  Saverio  di  Maistre,  near  the  market- 
place. Good  bedrooms  (3  fr.)  at  the  omnibus-office  in  the  market-place.  — 
Omnibus  and  carriaj;es  to  Courmayeur,  see  p.  51. 

Aosta  (1910ft.),  with  6100  inhab.,  the  Augusta Praetoria Salas- 
sorum  of  the  Romans  and  now  the  capital  of  the  Italian  province  of 
Aosta,  lies  at  the  confluence  of  the  Buthier  and  the  Dora  Baltea. 

The  valley  was  anciently  inhabited  by  the  Salaasi,  a  Celtic  race,  who 
commanded  the  passage  of  the  Great  and  the  Little  St.  Bernard,  the  two 
chief  routes  from  Italy  to  Gaul.  They  frequently  harassed  the  Romans  in 
various  ways,  until  tlioy  were  conquered  in  B.C.  25  by  Terentius  Varro, 
who  sold  many  of  them  as  slaves  at  Eporedia  (p.  54).  To  protect  the  roads 
Varro  then  founded  a  camp,  7t0  yds.  long  and  C25  yds.  broad,  with  20 
square  towers,  and  garrisoned  it  with  3000  soldiers  of  the  Prretorian  cohort?. 
The    importance  of  the  Roman  Aosta  13  indicated  by  the  extant  remains. 

Froui  the  railway-station,  which  lies  on  the  S.  side  of  the  town, 
the  Corso  Vittorio  Emanuele  Secondo  leads  past  the  little  Oiardino 
I'uhblico,  in  which  is  a  bronze  Statue  of  Victor  Emmanuel  JI.,  'roi 
chasseur',  by  Tortone,  on  a  lofty  rock  pedestal.  Farther  on  we  reach 
the  Roman  Town  Walls,  which  are  201/.2  ft.  high  and  preserved 
almost  in  their  entire  extent,  while  on  the  S.W.  side  the  ancient 
fa(-iiig  and  cornice  are  still  in  situ.  A  few  paces  to  the  right  is  the 
Tour  du  PaiUeron,  restored  in  1892. 

The  Corso  Vitt.  Emanuele  II.  ends  at  the  market-place  (Piazza 
Carlo  Alberto)  with  the  Palazzo  di  Citlci,  containing  the  collections 
of  the  Italian  Alpine  Club. 

From  the  market-place,  where  the  main  streets  of  the  town, 
still  preserving  the  old  Roman  arrangement,  intersect  each  other, 
the  Via  Umberto  Primo  leads  to  the  well-preserved  E.  town-gate, 
the  ancient  three-arched  Poeta  Ph..s:toria,  whence  the  Via  Sant' 
Anselmo  proceeds  straight  on  to  the  handsome  *IIoNoaARY  Arch 
OF  Augustus,  with  its  ten  Corinthian  pilasters.  We  then  cross  the 
Huthier,  which  has  changed  its  channel,  to  the  massy  arch  of  the 
old  Roman  Bridge,  now  half-buried  in  the  earth. 

In  the  Borgo  di  Sant'  Orso,  the  E.  suburb,  lies  the  cburch  of 
St.  Oubs  or  SanV  Orso,  founded  in  425  and  rebuilt  in  the  12th  cent- 
ury. The  choir  contains  the  tomb  of  Bishop  Gallus  (d.  546)  and  finely 
carved  stalls  of  the  15th  century.  The  old  crypt  is  borne  by  Roman 
columns.  The  cloisters  contain  early-Romanesque  columns  (12th 
cent.),  with  interesting  capitals.  Near  the  church  rises  a  Campanile, 
built  of  Roman  hewn  stones  in  the  12th  cent.,  opposite  which  are 


58     Route  12.  AOSTA.  From  Turin 

two  ancient  columns  in  front  of  a  cliapcl.  In  the  same  piazza  is 
the  picturesque  Priory  of  St.  Ours  (15th  cent.),  with  terracotta 
ornamentation  and  an  octagonal  tower.  The  interior  contains  good 
wood-carvings  and  frescoes. 

The  Amphitheatre,  destroyed  all  but  a  few  arcades,  in  the  old 
Convento  di  Santa  Cateriiia,  is  reached  from  the  Borgo  Sant'  Orso 
by  the  new  street  beside  the  Tour  des  Prisons  or  Tour  clu  Builliaye 
(12-i4ih  cent.),  the  N.E.  corner  of  the  town-wall,  or  by  the  Vicolo 
del  Bailliage,  leading  to  the  N.  from  the  Porta  Prajtoria.  Close  by, 
in  the  Via  del  Teatro,  is  the  Roman  Theatre^  of  which  or.ly  the  S. 
wall  (70  ft.  high)  is  now  standing. 

The  Cathedral,  in  the  N.  part  of  the  town,  owes  its  present 
form  to  the  14th  century.  Above  the  portal  is  a  painted  terracotta 
relief;  in  the  choir,  two  mosaic  pavements  of  1429  and  Gothic 
stalls  of  the  15th  century.  The  treasury  contains  two  shrines  of  the 
13th  and  15th  cent.  (SS.  Gratus  and  Jucundus),  a  cameo  of  a  Roman 
empress  in  a  setting  of  the  13th  cent.,  and  an  ivory  diptych  of  the 
Consul  Probus  (406)  with  a  representation  of  the  Emp.  Honorius. 
The  cloisters  date  from  1460.  —  In  the  Accademia  di  Sant'  Ansdmo, 
close  by,  are  Celtic  and  Roman  antiquities. 

By  the  S.  town-gate  (the  ancient  Porta  Principalis  De.vfra,  re- 
cently freed  from  encroaching  buildings)  rises  the  Torre  Bramafam 
(12th  cent.?),  a  relic  of  a  castle  of  the  Counts  of  Challant.  It  contains 
an  inscription  dedicated  to  Augustus  by  the  Salassi.  —  By  the  W. 
wall  is  the  mediaeval  Torre  del  Lelbroso,  or  Tour  du  Lepreux,  de- 
scribed in  Xavier  Le  Maistre's  story,  in  which  a  leper  named  Guasco 
(d.  1803)  and  his  sister  Angelica  (d.  1791)  dragged  out  their  mis- 
erable existence.  —  Numerous  cre'tiiis  will  be  seen  in  Aosta. 

The  -Becca  di  Nona  (10,305  ft.),  rising  to  the  S.  of  Aosta,  commands 
a  superb  view  of  the  Alps.  Ascent  6-7  hvs.,  with  guide  (16  fr.);  provisions 
should  be  taken.  A  bridle-path  leads  to  the  village  of  Charvensod  (2445  ft.; 
guide,  Gregoire  Come)  and  thence  via  the  hermitage  of  St.  Qrat  (5815  ft.) 
to  the  Col  de  Plan  Fenctre  (7300  ft.)  and  the  (4V2  hrs.)  Alp  Comhoi  (6960  ft. ; 
night-quarters).  The  Signal  Sismonda  (7700  ft.),  '/-z  hr.  above  (S.)  the  Col 
de  Plan  Fenetre,  command'*  a  fine  view  of  the  Rutor  and  the  Pennine  Alps. 
From  the  Alp  Comboe  a  good  zigzag  path  ascends  in  2V2  h'"s.  to  the  top 
of  the  Kecca  di  Nona  (a  few  yards  below  it  is  the  Rifugio  Biickhn  of  tlie 
Italian  Alpine  Club).  —  The  Mont  Emilius  (11,677  ft.)  may  be  ascended 
from  Comboe  in  4V2  brs.  (fatiguing;  for  adepts  only;  guide  30  fr.).  The 
view  is  still  more  extensive  than  that  from  the  Becca  di  Nona. 

From  Aosta  over  the  Great  St.  Bernard  to  Martigny^  see  Baedeker''s 
Switzerland. 

The  Road  to  Couemayeub,  (omn.,  see  p.  54)  ascends  the  broad 
and  shadeless  valley  of  the  Dora  Baltea,  passing  the  handsome  royal 
chateau  of  Sarre  (1968  ft.),  built  in  1710  ;  opposite  is  Aymaville 
(2120  ft.),  with  a  chateau  with  four  towers  (14th  cent.),  at  the 
mouth  of  the  Val  de  Cogne  (p.  61).  Beyond  St.  Pierre  ('2170  ft.'), 
with  its  church  and  picturesque  chateau  (14th  cent.;  partly  restored), 
we  continue,  enjoying  a  line  view  of  the  Rutor  and  Grivola,  and  near 
tlie  old  tower  of  Colin  (1  Ith  cent.?)  cross  the  Dora  to  ■ — 


to  Courmayeur.  PRE-ST-DIDIER.  12.  Route.   59 

572  M.  Villeneuve  [2165  ft.;  Alh.  Rhtonmte  deW  Unione;  Risto- 
rante  Petiijat},  a  picturesquely  situated  village,  commanded  by  tlie 
rock-pon-.lied  ruin  of  Argent. 

From  ViLi.ENEUVE  to  Ceresoi.e  Reale  ( !■)  hrs.)-  Ascent  from  Villeneuve 
by  a  ])ave(l  path,  iiuigli  and  steep.  To  the  W.,  a  fine  view  of  Mont  Blanc. 
Opposite  (3/i  lir.)  Champlong,  where  we  i-cach  the  lowest  part  of  the  Val 
Sdvarrmche  (p.  63j,  the  beautifully  wooded  \'<il  de  Rhcrnes  opens  on  the  W. ; 
on  the  h('i;:ht  between  the  valleys  rises  the  chateau  of  Introd  (p.  63). 
Fiilldwing  the  lofty  right  bank  of  the  deep  valley,  wc  ne.\t  come  to  (3  hrs.) 
Degioz-Valsavaranche  (p.  (33),  then  Tignet  (p.  63)  and  Bien  and  (2V4  hrs.) 
rmt-Valsararancha  (63:^5  ft.;  Hot.  Orivula,  plain  but  good),  the  highest 
hamlet  in  the  Vul  Savaranche,  at  the  W.  base  of  the  Gran  Paradiso  (p.  63). 

The  Val  Savaranche  divides  here.  We  cross  the  brook  descending 
from  the  W.  branch  of  the  valley,  and  ascend  f,  steep  rocky  slope  in 
numerou.s  windings,  passing  a  fine  waterfall,  to  the  (1  hr.)  Croix  d''Aro- 
letta  (TSCOft.),  a  cross  on  the  brink  of  a  precipice,  where  we  en,ioy  a 
niagnilicent  survey  of  the  Oran  Paradiso  and  its  three  peaks  opposite  to 
us,  to  the  N.  of  which  are  the  Becca  Jfontandeyne,  Pointe  Herbetet,  and 
the  Grivola.  Traversing  a  desolate,  and  at  places  marshy,  valley  ,  with 
numerous  traces  of  glacier-friction,  we  ne.xt  pass  the  h'mlet  of  Gran  Collet 
(T£05ft.;  accommodation),  then  (I  hr.)  the  Chalets  de  Nivolet  and  a  small 
lake  with  a  royal  shooting-box,  and  reach  the  (1  hr.)  Col  de  Nivolet 
(8065  ft.),  a  narrow  ridge  of  rock  with  a  superb  view,  to  the  S.,  of  the  Le- 
rfinna  (p.  43)  rising  on  the  opposite  side  of  the  deep  Val  d'Orco.  To  the 
W.  are  the  lofty  Col  de  la  Oalise  and  the  Cima  di  Bousaon ;  to  the  E.,  the 
chain  of  the  draii  ParadUo.  (A  route  leads  to  the  N.W.  across  the  Colle 
Jiosscito  into  the  Val  de  R/iemes.) 

Our  route  descends  a  steep  rocky  slope,  in  many  windings,  to  a  bleak 
valley  with  several  small  tarns  and  a  few  chalets,  and  thence  by  steep 
zigzags  on  the  left  side  of  the  Agnello,  with  its  numerous  falls,  to  ('2  hrs.) 
C/iiapili  di  Sopra  (5718  ft.),  the  highest  hamlet  in  the  valley  of  the  Oreo. 
Farther  on  we  pass  the  beautifully  situated  Parrocchia  or  parish-church 
(5315  ft.)  and  fiually  reach  (2  hrs.)  Ceresole  lieale  (p.  43). 

Beyond  Villeneuve  we  cross  the  Savaranche  and  ascend  rapidly 
to  (3* '2  M. )  Arvier  (2646  ft. ;  Croce  Bianca).  High  np  on  the  precip- 
itous cliff  to  the  right  stauds  the  church  of  St.  Nicolas  (3925  ft.). 
Ill  front  of  us  is  the  snowy  Rutor  (p.  G4).  —  Near  the  beautifully 
situated  but  dirty  village  of  ('Vi  M-)  Liverogne  (2395  ft.;  Hot.  du 
Col  du  Mont^  plain)  we  cross  the  deep  gorge  of  the  Dora  di  Val- 
gri.ianche  ( p.  04),  and  traverse  a  rocky  gorge  to  Ruinaz  (2680  ft. ; 
Croix,  poor).  (Opposite  lies  Avi/^e^  with  a  ruined  castle  and  au  old 
cbun-h.  Mont  Blanc  now  comes  in  sight.  The  road  passes  through 
another  wild  defile  (Pierre  Taillee)  and  crosses  to  the  left  bank  by 
the  (2  M.)  Pont  d'E'{uilive  (2570  ft.).  The  valley  expands.  On  the 
light  bank  is  the  pretty  Cascade  de  Derby,  descending  in  several 
leaps.  3  M.  Morgex  (3020  ft.;  Chene  Verl;  Ajiye).  Between  Morgex 
and  Courmayeur  tlie  Dora  valley  intersects  the  limestone  and  quartz- 
ite  zone,  which  extends  to  the  S.E.  of  Mont  Blanc  from  Sion  to 
Moutiers  (p.  2).  The  road  now  follows  the  lofty  slope  for  some 
distance,  with  a  fine  retrospective  view  of  the  (irivola  (p.  61),  and 
crosses  to  the  right  bank  of  the  Dora  Baltea  near  (3  M.)  — 

Pre-St-Didier  (3250  ft.;  *H6tel  de  I'Univers,  R.  from  3,  B.  I1/4, 
de'J.  3,  D.  5,  pens,  from  9  fr.,  incl.  wine;  Hot.  de  Londres),  a  pictur- 
esquely situated  village  with  baths,  where  the  road  to  the  Little  St. 


60    Route  12.  COURMAYEUR. 

Bernard  diverges  to  the  loft  (see  below).  Near  tlie  warm  salt  springs, 
1/4  M,  lower,  the  TlmUe  has  forced  its  way  to  the  Dora  valley  through 
precipitous  cliffs. 

Excursions.  The  ascent  of  the  *Tete  de  Crammont  (8980  ft.),  4  hrs.  to 
the  W.  of  Pre-St-Didier  is  highly  interesting  (riding  practicable  to  within 
'/2  hr.  of  the  top).  Following  the  Little  St.  Bernard  road  to  a  point  about 
6  min.  above  the  first  tunnel  (shorter  footpath  in  20  min.),  we  thence  ascend 
in  zigzags  to  the  right  to  the  (2  hrs.)  hamlet  of  Chanlon  (5970  ft.),  whence 
we  reach  the  summit  in  I'/z  hr.  more.  Splendid  view  of  Mont  Blanc  and 
the  Graian  Alps.  About  5  min.  below  the  top  is  the  Capanna  De  Saussure,  a 
refuge-hut  of  the  Italian  Alpine  Club.  Another  and  easier  route  diverges 
to  the  right  from  the  St.  Bernard  road  at  Elevaz,  3  M.  from  Pre'-St-Didier, 
joining  the  above  route  at  Chanton.    Experts  may  dispense  with  a  guide. 

From  Pre-St-Didier  via  Balme  and  (6  M.)  La  Thuile  (4726  ft.;  Alb. 
Nazionalc,  Alb.  della  Goletta,  both  primitive;  guide,  Maurizio  Boguier), 
the  best  starting-point  for  the  ascent  of  the  Rulor  (comp.  p.  64),  to  the  pass 
of  the  lA'tle  St.  Bernard  (7175  ft.)  and  Bourg  -  SI  -  Maurice,  see  Baedeker's 
Southern  France. 

Beyond  Pre-St-Didier  the  road  ascends  the  left  bank  to  (8/4  M.) 
Palesieux,  and  winds  through  a  wooded  ravine  to  (270  M.)  — 

21  M.  Courmayeur.  —  "Grand  Hotel  Rotal-Bertolini,  with  garden, 
K.  from  3,  B.  fi/i,  dej.  31/2,  D.  5,  pens,  from  11  fr.  (open  in  summer  only); 
Geand  Hotel  de  l'Ange,  similar  charges;  'Union,  E.  3-4,  B.  IV2,  dej.  3, 
D.  41/2,  pens.  8'/2-ll  fr.,  incl.  wine;  "Mont  Blanc,  '/z  M.  to  the  N.  of  the 
village,  R.  21/2-4,  dej.  3,  D.  4,  pens.  lO'/^fr.,  incl.  wine;  Hot.-Restadrant 
Savote,  R.  2-21/2,  B.  1,  dej.  3,  D.  3V2,  pens,  from  7  fr.,  incl.  wine.—  Ca/J 
du  Mont-Blanc.  —  Diligence  to  Aosta,  see  p.  54;  carr.  with  one  horse  15, 
with  two  25  fr.  —  English  Church  Service  in  the  season  at  the  Grand  Hotel 
Royal. 

Courmayeur  (4030  ft.),  a  considerable  village  beautifully  situated 
at  the  head  of  the  Aosta  valley,  is  much  frequented  by  Italians  as  a 
summer-resort  and  for  its  chalybeate  springs.  The  highest  pealc 
of  Mont  Blanc  is  concealed  from  Courmayeur  by  the  Mont  Chetif 
(7685  ft.},  but  is  seen  from  the  Pr(5-St-Didier  road,  V2  M.  to  the  S. 
—  About  11/4  M.  to  the  N.  are  the  small  sulphur  baths  of  La  Saxe. 

The  *Mont  de  la  Saxe  (7735  ft.;  3  hrs.;  guide,  6  fr.,  unnecessary) 
affords  a  complete  view  of  the  E.  side  of  Mont  Blanc  with  its  glaciers, 
from  the  Col  de  la  Seigne  to  the  Col  de  Ferret,  the  Dent  du  G^ant  and 
the  Jorasses  being  prominent.  A  good  bridle-path  ascends  from  Cour- 
mayeur, by  Villair,  to  the  (2  hrs.)  Chalets  du  Pri  (64S0  ft.)  and  the  (1  hr.) 
summit.  The  descent  may  be  made  by  the  Chalets  du  Leuchi  (6306  ft.)  into 
the  Val  Ferret.  —  Excursions  in  the  Mont  Blanc  chain,  to  Chamunix,  etc., 
see  Baedeker''s  Switzerland  or  Southern  France. 

13.  From  Aosta  to  the  Graian  Alps. 

The  Graian  Alps,  an  extensive  mountain-system  culminating  in  the 
Oran  Paradito  (13,324  ft.)  and  the  Orivola  (13,022  ft.),  lie  between  the 
valleys  of  the  Bora  Baltea  and  the  Mre  on  the  N.,  and  those  of  the 
Bora  Riparia  and  the  Arc  on  the  S.  We  here  describe  a  few  of  the  most 
interesting  routes  through  the  E.  part  of  this  grand  mountain-region, 
in  the  form  of  a  circular  tour  of  four  days  from  Aosta ,  taking  in  Cogne, 
Valsavarajiche,  Rhemes  Notre-Dame,  and  Valgrisanche.  Cogne  is  the  best 
centre  for  excursions. 

The  mountains  of  Cogne  are  a  favourite  chasse  of  the  Kings  of  Italy, 
and  the  mountain  goat  ('steinbock',  Ital.  'stambecco',  Fr.  'bouquetin'), 
elsewhere  nearly  extinct,  is  still  found  here.  Several  excellent  bridle-paths, 
leading  to  the  royal  shooting-lodges,  are  a  great  assistance  to  the  pedestrian. 


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COGNE.  13.  Route.    61 

1st  Day.  —  FroM  Aosta  to  Cognb  (6'/2  trs.).  As  far  as  (6  M.) 
Aymaville  (2120  ft.)  we  may  follow  the  highroad  (p,  68),  but  it  is 
preferable  to  cross  the  Dora  near  Aosta,  and  to  go  by  Gressan  and  Jo- 
renfan,  across  meadows  and  fields.  The  bridle-path  then  ascends 
rapidly  past  the  church  of  St.  Martin  to  Poia  (2790  ft.),  and  enters 
the  monotonous  Yal  de  Cogne  at  a  great  height  above  the  ravine  of 
the  brawling  Orand'  Eyvie.  Far  below  we  soon  observe  the  houses 
of  Pont  d'Ael  (2865  ft.),  with  its  admirably  preserved  *Roman 
Bridge  (formerly  an  aqueduct),  60  yds.  long  and  395  ft.  above  the 
stream.  It  was  erected  in  the  reign  of  Augustus.  The  valley  con- 
tracts. Near  the  bridge  by  which  we  cross  the  stream  we  obtain  a 
view  of  the  Grivola  for  a  short  time.  —  "We  next  reach  (lY2hr.) 
Vieyes  (3734  ft.;  cantine),  at  tlie  mouth  of  the  Comhe  de  Nomenon 
(pretty  waterfall),  with  the  Grivola  and  the  Gran  Nomenon 
(11,444  ft.)  in  the  background.  Beyond  (V4l>r0  Siivenoire  (right) 
and  a  deserted  iron-foundry  we  again  cross  the  brook  by  the  Pont 
de  Laval  (4480  ft.),  where  the  mountains  of  Cogne  are  revealed, 
to  (IV2  li'"0  Spinel  (4765  ft.),  opposite  the  lofty  Punta  del  Pousset 
(^see  below)  and  the  Traio  Glacier.  —  At  (V2  ^r.)  Cretaz  the  Val- 
noniey  descends  from  the  S.  to  the  Grand'  Eyvie.  —  20  min.  — 

Cogne  (5083ft.;  Couronne,  R.  i^p-'^^-i,  B.  IV2.  de'j.  21/2,  D-  31/2, 
pens.  61/2  fr..  very  fair;  Grivola,  similar  charges,  clean),  charmingly 
situated,  with  a  beautiful  view  of  the  Gran  Paradise  and  the  Tour 
du  Grand  St.  Pierre,  with  their  glaciers  (Glacier  de  la  Tribulation, 
du  Grand  Crou,  dii  Money,  etc.)  to  the  S.,  and  of  the  Mont  Blanc  to 
the  N.W.,  is  an  excellent  starting-point  for  excursions.  Three 
valleys  converge  here :  the  Vallone  di  Valnontey  from  the  S.,  the 
Vallone  d'Vrtier  from  the  S.E.,  and  the  Vallone  di  Grauson  from 
the  N.E. 

Ascents  and  Passes  (guides  :  Gasp,  and  Pietro  Gerard).  —  "^Punta  del 
Pousset  (9994  ft. ;  5  lirs.;  guide  6,  with  mule  12  fr.),  a  superb  point  of  view. 
At  Cviiaz  (sec  above)  the  bridle-path  crosse.s  the  Valnontey  and  enters  a 
wood  and  then  ascends  grassy  slopes  to  the  chalets  of  Ors-Dessus  and  (3  hrs.) 
Fonssei-Desxus  or  Superiori  (8390  ft.).  Thence  a  steep  climb  of  l^/z  hr., 
passing  a  very  giddy  place  near  the  top,  brings  us  to  the  rocky  crest  of 
the  Punta  del  Pousset.  Close  to  us,  above  the  Tiaio  Glacier,  towers  the 
Grivola,  which,  on  this  side,  is  hardly  inferior  in  bnldness  to  the  Matter- 
horn,  while  other  mountains  of  the  Pennine  and  Graian  Alps  are  also 
visible.  —  The  Grivola  (13,022  ft. ;  from  Cogne  9  hrs.  \  two  guides  at  28  fr. 
each)  is  difficult  and  fit  for  experts  only.  Ascent  from  Valsavaranche  still 
mure  difficult. 

The 'Punta  di  Tersiva  (11,526  ft.;  7  hrs.,  with  guide)  presents  no  dif- 
ficulty to  adepts.  Wc  proceed  through  the  Vallone  di  Ornuson  to  the 
(2'/2  hrs.)  chalets  of  Orauson  (7450  ft.)  and  to  (S/i  hr.)  Ervillih-e  (8'2i5ft.); 
thence,  passing  the  little  Lac  Ooriere,  to  the  (1  hr.)  Passo  d" Invergneux 
(9485  ft.)  and  by  the  W.  arete  to  the  (2Vz  hrs.)  summit.  JIagnilicent  view 
of  the  Graian  imd  Pennine  Alps  and  of  the  plain  of  Piedmont  (Turin),  etc. 
The  ascent  may  be  also  made  from  the  S.  from  the  Val  d'' Uriief  via  the  Pon- 
tcn  Alp,  or  from  the  N.  (more  difficult)  from  the   Val  de  Clavalili  (p.  56). 

In  the  Vallone  di  Valnontey,  opening  to  the  S.  of  Cogne,  lie  the  (3  hrs. ; 
steep  final  ascent)  chalets  of  Le  Money  (7G74  ft.),  which  command  an  ad- 
mirable view  of  the  Gran  Parad'so  with  its  glaciers  (ascent,  see  p.  63). 
Two  difficult  glacier  passes,  the  CoUe  Grand  Crou  or  Col  Tuckett  (11,139  ft.), 


62     Route  13.  COGNE.  Graian 

between  the  Oi-ctn  Paradiso  and  Becca  di  Gay,  and  tbc  CoUe  Money  (11,?80  ft.), 
between  the  Roccia  Viva  (11,975  ft.;  small  lake  on  the  top)  and  the  Tour  du 
Grand  St.  Pierre  (  ee  below),  lead  from  the  head  of  the  Vallone  de  Val- 
nontey  to  the  Val  d'Orco  (see  below;  guide  15  fr.). 

From  CoGNE  TO  Hone-Bard,  11-12  brs.,  attractive  and  not  difficult.  A 
bridle-path  (royal  hunting-path)  crosses  the  Urtier  at  ('/a  hr.)  Champlong 
(5185  ft.),  and  ascends  the  valley  of  the  stream  with  its  abundant  flowers 
and  waterfalls,  commanding  fine  views  of  the  Grivola  to  the  W.  and  of 
the  Combe  de  Valeille  (see  below),  cnclo?ed  by  glacier.'?,  to  the  S.  VVc  next 
pass  the  chapel  of  Cret  to  the  (2  hrs.)  chalets  of  Cliavanis,  whence  wc  may 
either  follow  the  lower  path  to  the  right  by  Bvidot  and  Peyrasas,  or  that 
to  the  left  along  the  slope  of  the  Tersiva  (p.  61),  via  Piatids  and  Ponton, 
with  its  little  lake,  and  along  the  Tour  de  Ponton,  to  the  (2  hrs.)  Col  de 
Cogne  (Fenetre  de  Coyne  or  Finesfra  Champorcfier ;  9288  ft.),  between  the  Tour 
de  Ponton  and  the  heceo  Costnssa.  We  descend  into  the  pastoral  Val  Cham- 
porcfier or  Camporciero,  passing  the  chalets  of  Dondenna,  to  (S'/s  hrs,)  Chain- 
porcher  (4650  ft.;  rustic  inn),  and  thence  by  Pont-Bosel  to  (21/2  hrs.)  H6ne- 
Bard  (p.  55). 

Fkom  Cogne  to  St.  Marokl,  8  hrs.,  not  difficult  (practicable  for  mules). 
The  route  leads  through  the  Vallone  di  Grauson  to  the  (21/?  hrs.)  chalets  of 
Orauson  (p.  61),  and  thence  past  the  little  Coronas  Lake  to  the  (2  hrs.) 
Col  de  St.  Marcel  [Colle  di  Coronas,  9535  ft.),  a  saddle  of  the  Cresta  del 
Tessonet.  We  descend  through  the  wooded  Vallone  di  St.  Marcel  to  (S'/a  hrs.) 
St.  Marcel  (p.  56). 

Feom  Cogne  to  Aosta,  9  hrs.  (with  guide),  fatiguing  but  interesting. 
The  route  ascends  via  the  chalets  of  Chavanis  and  Arpisson  ("7630  ft.)  to 
the  Col  d'Arbole  (9300  ft.);  fine  view  of  the  Grim  Paradiso  and  Grivola. 
Descent  via  the  Chalets  d'Arlole  (8190  ft.)  and  the  hermitage  of  SI.  Oral 
(5815  ft.;  p.  58).  —  To  Aymaville  (p.  5S)  over  the  Colle  de  Chaz-SMie 
(9250  ft.)  or  the  Colle  del  Drinc  (8705  ft.),  7-8  hrs.,  both  attractive  and  not 
difficult. 

From  Cogne  to  the  Val  Soana  across  the  Colle  della  Nouva,  7-8  hrs. 
to  Ciiiiipiglia,  attractive  and  not  diflicult.  Passing  the  chalets  of  Chavanis 
and  Briilot  (see  above)  to  the  foot  of  the  glacier  and  skirting  this  to  the 
right,  we  reach  (3  hrs.)  the  CoUe  della  Nouva  (Colle  delV  Arietta;  9670  ft.), 
and  enjoy  an  admirable  view  of  Mont  Blanc  and  the  S.  side  of  the  Graian 
Alps.  Steep  descent  to  the  chalets  of  Arietta,  and  through  the  Val  Cam- 
piglia  to  (3  hrs.)  CampigUa,  (Vs  hr.)  Valprato,  and  ('/z  hr.)  lionco  (3087  ft. ; 
Alb.  Nazionale;  Universe;  omn.  to  Cuorgne),  in  the  Val  Soana,  S'/z  hrs. 
above  Ponl  Canavese  (p.  ■42).  —  Two  other  passes  to  the  Val  Soana  load 
respectively  across  the  Colle  Bar doney  (9295  ft.),  between  the  Punta  Lavina 
and  the  Punta  Rol  (fatiguing),  and  across  the  Boecheita  di  Rancio  (G8G0  ft.), 
to  the  N.  of  the  Punta  Lavina  (difficult). 

To  THE  Val  dOroo  (  Val  Locana)  over  the  Colle  Grand  Crou  or  the  Colle 
Money,  see  above.  Two  other  diflicult  passes  lead  from  the  Vallone  di 
Valeihe,  the  lateral  valley  parallel  to  the  Vallone  d'Urtier  on  the  S.  (see 
above),  to  the  Ricovero  Piantonetto  (9140  ft.)  in  the  Val  PiantonMo  and  to 
Perebecche  (p.  42)  in  the  Val  d'Orco:  the  Colle  di  Teleocio  (10,910  ft.), 
between  the  Tour  du  Grand  St.  Pierre  (12,113  ft.;  the  difficult  ascent  of 
which  may  be  made  from  the  pass)  and  the  Ondezana;  and  tbc  Colle 
Sengie  (10,520  ft.),  between  the  Oudczana  and  the  Punta  Senijic. 

'2nd  Day.  —  Feom  Cognb  to  Valsavabanche  (8-9  hrs. ),  attrac- 
tive (guide,  10  fr.,  not  indispensable).  From  (8/4  hr.)  Valnontey 
(5505  ft.)  the  bridle-path  ascends  to  the  right,  through  wood, 
passing  a  pretty  fall  of  the  Lauzon,  to  the  (21/2  hrs.)  royal  shooting- 
lodge  ('Campement  du  Roi' ;  8490  ft.)  and  the  (2  hrs.)  Colle  Lauzon 
(10,830  ft.),  with  an  admirable  view  (still  more  extensive  from  a 
height  a  few  minutes  to  the  S.).  We  now  descend,  enjoying  superb 
views  of  the  Gran  Paradiso,  on  the  left,  and  Grivola,   on  the  right, 


Alps.  VALSAVARANCHE.  13.  Route.    63 

to  (1  Vj  hr.)  the  Chalets  de  Leviona  (7766  ft.).  (Good  walkers,  with 
a  guiilf ,  may  cross  the  brook  here  near  the  small  waterfall,  and 
descend  by  a  steep  path  direct  to  Valsayaranche.)  The  bridle- 
path follows  the  left  bank  and  reaches  the  bottom  of  the  Val  Sava- 
ranche  near  (lV2^r.}  the  hamlet  of  Tignet,  1  M.  to  the  S.  of  Degioz- 
Valsavaranche  (5055  ft.;  Hot.  dii  Grand  Paradis,  Hot.- Restaurant 
du  Club  Aipin,  11.  172i  ^-  ^72  f""-)  ^otl^  plain  but  good),  the  chief 
village  in  the  Valsavarancho  (guides ,  Pietro  and  Albino  Dayne', 
Gius.  Prayet). 

Two  other  somewhat  fatiguing  passes  from  Cogne  to  ValsavaraDche 
are  the  Col  de  VBerhetet  (10,830  ft.)  and  the  Colle  ifesoneles  (10,170  ft.).  — 
From  Valsavaranche  to  Ceresole  Reale,  see  p.  59. 

The  Gran  Paradiso  (13,32  i  ft. ;  difficult,  fur  adepts  only;  guide  30  fr.) 
may  be  ascended  in  6-7  hrs.  from  (2'/4  hrs.)  Poni -VaUuiaranche  (p.  59). 
About  i/*  !"'•  to  the  S.  of  Pont  we  ascend  to  the  left  to  the  (2  hrs.)  Rifugio 
Viitorio  Emanuele  fiecondo  (9105  ft.;  inn),  above  the  Moncorvi  Alp,  and 
thence  cross  the  Glacier  de  Moiicorri  to  the  (4-5  hrs.)  summit.  The  descent 
may  be  made  to  the  Chalet  d'Uerhelet  (accommodation)  and  through  the 
Vttlnontey  (p.  61)  to  Cogne  (very  difficult). 

3rd  Day.  —  From  Valsavaranche  to  Khemks  Notrk-Damf. 
(G  hrs.;  guide  6  fr.).  The  bridle-path  ascends  from  Valsavaranche 
by  (1  M.)  Cretan,  at  first  somewhat  steeply,  to  (2  hrs.)  a  royal 
sliooting -lodge  (7185  ft.)  ,  and  thence  leads  in  zigzags  along  the 
slope  to  the  left,  passing  (II/4  hr.)  the  small  Lago  di  Djouan 
(8280  It.)  and  the  Lago  Nero  (9075  ft.),  to  the  (11/2^1-.)  CoUe 
d'Entrelor  (9872  ft.),  between  the  Cima  di  Gollien  (10,120  ft.)  and 
the  Cimn  di  Percla  (10,110  ft.).  Fine  view  of  the  Rutor  to  the  W., 
and  of  the  Gran  Paradise  and  Grivola  to  the  E.  Descent  rather 
steep  through  the  Vallone  d'Entrelor,  with  the  Becca  di  Sambeina 
(10,370  ft.)  on  the  left,  to  (2'/2  hrs.)  Rheines  Notre-Dame  (6015  ft. ; 
poor  cantine,  or  a  bed  at  the  cure's),  the  chief  place  in  the  Val  de 
Rhemes,  which  is  enclosed  by  imposing  glaciers  (guide,  C.  The'ri- 
sod),  Notre-Dame  is  5  hrs.  from  Villeneuve.  The  route  down  the 
valley  passes  Rlitmes-St-Georyes  and  Introd  (2885  ft.),  where  the 
Val  de  Uht'mfs  unites  with  the  Val  Savaranche  (p.  59).  In  descend- 
ing we  obtain  a  fine  view  of  Mont  Velan  and  the  Grand  Combin  to 
the  N. 

A  shorter  but  more  toilsome  route  than  the  Col  d'Entrelor  leads  from 
Valsavaranche  to  Rhemes  Notre-Dame  across  the  Colle  di  Sort  (9735  ft.), 
which  lies  to  the  S.  of  the  MIe.  Roletla  (11,1U0  ft.). 

4th  Day.  —  From  Rhemes  Notre-Dame  to  Valgrisanchb,  and 
THENCK  to  Liverogne  AND  AosTA  (6  hrs.  to  Valgrisauche ;  guide 
0  fr. ;  3  hrs.  more  to  Liverogne).  Steep  ascent  to  the  (372  hrs.) 
Colle  della  Finestra  (9340  ft. ),  between  the  Becca  di  Tei,  on  the 
right,  and  the  Becca  dell'  Invergnau  (11,838  ft.),  on  the  left,  with 
fine  view  of  the  Ormelune  and  the  Rutor.  The  path  descends  through 
the  stony  Vallone  del  Bouc.  Where  it  divides,  we  keep  to  the  left. 
On  our  left  are  the  Glacier  de  Rabuiyne  and  Mont  Forciat,  which 
conceals  the  Becca  dell'  Invergnau.  Passing  (172  ^^•)  ^^^  ^'Z* 
Nouva  (7025  ft.),  we  descend  and  crosa  the  brook  to  Fornet  (6680  ft. ; 


04     Route  14.  BIELLA. 

small  inn),  the  highest  hamlet  in  the  Vnl  Grisanche;  then  to  Sevey, 
Mondange,  and  (2  hrs.)  Valgrisanche  (5460  ft. ;  accommodation  at 
the  Cantine  du  Col  du  Mont  or  at  the  cure''s;  guides,  Sev.  Ponton 
and  G.  S.  Rosier),  a  village  prettily  situated  at  the  base  of  the 
Rutor  or  Ruitor. 

The  ascent  of  the  Rutor,  an  extensive,  glacier-clad  mountain  with 
several  peaks  (S.  and  highest  peak  il,4o6ft.;  N.  peak  11,315  ft.),  either 
from  Valgrisanche,  or  better  from  La  Thuile  (p.  60),  presents  no  serious 
difficulty  (guide  40  fr.).  From  La  Thuile  a  bridle-path  leads  through  the 
deep  and  narrovi'  Rutor  valley  via  La  Joiix  to  the  (2  hrs.)  grand  "Fallt  of 
the  Rutor  ((3345  ft.),  whence  we  ascend  to  the  left  to  the  (I'/z  hr.)  Rifugio  di 
Santa  Mavgherita  (8038  ft.),  situated  on  the  Lago  del  Rntov,  5  min.  to  the 
N.E.  of  a  height  (808S  ft.)  commanding  a  magnificent  *View.  Thence  acros.s 
the  large  Rutor  Glacier  to  the  (3  hrs.)  T<te  du  Rutor  (11,436  ft.),  which 
commands  a  most  splendid  panorama  of  Mont  Blanc,  etc.  (refuge-hut  of 
the  Italian  Alpine  Club  on  the  top). 

The  bridle-path  from  Valgrisanche  to  Liverogne  (3  hrs.)  leads 
through  the  beautifully  wooded  Val  Grisanche,  on  the  left  bank  of 
the  Dora  di  Valgrisanche,  to  Ceres  or  iScrre  (Hot.  Frassy,  rustic)  and 
Revers,  where  the  river  disappears  for  a  short  distance  under  rocks. 
The  hamlet  of  PLanaval  lies  to  the  left.  The  valley  contracts  to  a 
wild  ravine.  The  path  on  its  left  side  skirts  a  precipice  high  above 
the  roaring  torrent.  On  the  opposite  bank,  on  an  apparently  in- 
accessible rock ,  is  perched  the  ruined  castle  of  Montmajeur  or 
Tour  d'Arboe.  —  Liverogne,  see  p.  59.  Near  Liverogne  the  path 
quits  the  gorge  and  descends  to  the  left  through  meadows  and  groups 
of  trees  to  the  road  from  Courmayeur  to  Aosta  (p.  58). 


14.  From  Santhik  (Turin)  to  Siella. 

18"A  M.  Railway  in  ca    I-IV2  hr.  (fares  3  fr.  40,  2  fr.  55,  1  fr.  70  c). 

From  Turin  to  (3iii/2  M.)  Santhid,  see  p.  65.  The  intermediate 
stations  are  unimportant,  but  the  mountain-views  are  flue. 

18*/.2  M.  Biella.  —  Hotels.  'Tksta  Grigia;  Angelo;  Leon  d'Oro  ; 
Alb.  Centkale,  all  in  the  new  town;  Gkand  Hotel,  with  hydropathic, 
in  the  old  town.  —  Photographs  at  Vittorio  SeUa''s.  —  Cable  Railway  to 
the  old  town  (10  c). 

Biella,  an  episcopal  see  with  16,300  inhab.,  lies  on  the  Cervo  and 
is  divided  into  Biella  Piazzo  (1558  ft.),  the  high-lying  old  town,  and 
Biella  Piano  (1345  ft.),  the  new  town.  The  power  for  the  electric 
lighting  of  the  industrial  new  town  and  for  its  factories  is  furnished 
by  the  Chiusellai^.  54)  and  the  Dora  (near  Pont-St-Martin,  p.  55). 
The  town  possesses  arcaded  streets  and  a  fine  Cathedral  of  the 
15th  cent.,  with  a  facade  of  1825.  Near  the  cathedral  is  an  early- 
Christian  Baptistery  (9th  cent.?).  The  church  of  San  Sebastiano  is  a 
handsome  Renaissance  structure  of  1504.  The  palaces  of  the  old 
town  are  now  tenanted  by  the  lower  classes. 

About  3  M.  to  the  N.E.  of  Biella,  near  the  village  oi  Bioglio  (2235  ft.), 
lies  the  Villa  Sella,  with  a  beautiful  garden  and  a  splendid  view  of  the 
Alps  (visitors  admitted). 


ROMAGNANO.  75.  Route.     65 

From  Biella  Steam  Tramways  run  to  (13  Sf.)  Valle  Mosso  via  (7  M.) 
Cotsuto,  and  to  (5'/2  M.)  Mongrando  via  (2  M.)  Occhieppo  (see  below).  A 
third  line,  a.icends  to  the  N.  through  the  valley  of  the  Cervo  to  (5  M.)  An- 
dorno  (17S8  ft.;  Orand  H6tel  Sella^  with  hydropathic,  pens.  11-14  fr. ;  Croce 
Rosfa;  Engl.  Ch.  service  at  the  Grand  Hotel).  The  Gothic  church  (1304) 
has  been  modernized.  —  Beyond  Andorno  the  tramway  goes  on  to  (81/2  M.) 
/Saima,  noted  for  its  large  granite-quarry,  whence  omnibuses  (25  c.)  run 
to  Campiglia  (2460  ft. ;  inn).  From  Campiglia  a  road  ascends  via  Fonte 
Concresio  (see  below)  and  Eosazza  (Alb.  della  Gragliasca)  to  Piedicavallo 
(3405  ft.;  Alb.  Mulogna,  well  spoken  of),  whence  Monte  Bo  (8385  ft.;  'View) 
may  be  ascended  in  41/2  hrs.  (guide  5  fr.). 

A  pleasant  excursion  may  be  made  also  via  (II/4  M.)  Cotsila  (17£0  ft.), 
with  its  water-cure,  and  Favaro  (2^60  ft.)  to  Oropa  (3870  ft.),  6  M.  to  the 
N.W.  of  Biella  (omn.  thrice  daily,  21/2  'r.,  down  II/2  fr.  ;  electric  tramway 
under  construction).  Here  stand  a  large  Stabilimento  Idrotei'apico  (3480  ft. ; 
open  .Tune-Sept.),  and  the  famous  pilgrimage-church  of  Madonna  d^Oropa. 
From  Oropa  a  road  runs  to  the  N.,  piercing  the  pa?s  of  the  CoUe  della 
Colma  by  a  tunnel  765  yds.  long,  to  the  Santuario  di  San  Cioranm  (3345  ft.) 
and  to  PonU  Concresio  (see  above),  in  the  Cervo  valley. 

About  71/231.  to  the  W.  of  Biella  (road  via  Occhieppo^  see  above;  omn. 
from  the  Leon  d'Oro  2V2  fr. ;  carr.  with  one  horse  6,  with  two  12  fr.)  lie 
the  pilgrimage-church  and  hydropathic  of  Oraglia  (2664  ft.),  situated  2  M. 
above  the  village  of  that  name,  amid  a  splendid  array  of  mountains.  —  Con^p, 
Fertmi-RalH,  Gaida  pel  Villeggiante  nel  Biellese  (Turin,  Casanova;   1901). 

15.  From  Turin  vid  Santhia  andSorgomanero  to  Arona 

(Simplon  Railway). 

77  M.  Railway,  opened  in  19C6,  in  S'/i-S^A  hrs.  —  Views  of  the  Alps 
to  the  left. 

From  Turin  to  (861/2  M.)  Santhi(i,  see  telow  and  p.  66.  —  The 
railway  diverges  to  theN.E.  from  the  Milan  line  and  beyond  (39 1/2  M.) 
Carisio  crosses  the  Elvo  and  the  Cervo.  —  45  M.  Buronzo;  50  M. 
Roasenda;  56  M.  Oattinara  (870  ft.). 

Crossing  the  Sesia  by  an  iron  bridge  of  three  spans,  wo  next 
reach  (581/2  M-)  Romagnano  Sesia,  junction  for  the  line  from 
Novara  to  Varallo  (p.  68).  Thence  we  descend  in  a  fertile  un- 
dulating region,  via  (6472  ^^0  Oureggio  (1140  ft.),  to  the  valley 
of  the  Agogna. 

67  M.  Borgomanero  (1005  ft.;  p.  70),  junction  of  the  liiie  from 
Novara  to  Orta  and  Domodossola.  —  Our  line  pierces  the  spurs  of 
the  Margozzolo  Group  (p. 201)  by  means  of  a  tunnel,  2  M.  in  length. 

77  M.  Arona  and  thence  to  Domodossola  (Brigue)  or  Milan,  see 
p.  201  andR.2. 

16.  From  Turin  to  Milan  via  Novara. 

93  M.  Railway  in  3-5  hrs.  (fares  17  fr.  40,  12  fr.  20,  7  fr.  85  c. ;  ex- 
press 19  fr.  15,  13  fr.  40  c).     Glimpses  of  the  Alps  to  the  left. 

Turin ,  see  p.  27.  —  The  Dora  Riparia  is  crossed ,  then  the 
Stura  between  (5  M.)  Torino  Dora  and  (IOI/2  M.)  Settimo  Tori- 
nese,  whence  a  railway  runs  N.  to  Rivarolo,  with  branches  thence 
to  Cuorgnh  (p.  42)  and  Castellamonte.   "We  cross  the  Oreo. 

Baedekur.   Italy  I.    13th  Kdit.  5 


66     Uoute  16.  VEUCELLI.  From  Turin 

18 M.  Chivasso  (600 ft. ;  Alb.  del  Moro),  a  town  with  4200  inhab., 
noar  tlie  influx  of  the  Oreo  into  the  Po.  The  parish-church  contains 
a  painting  by  DefeiiJente  de  Ferrari. 

Branch  Lines  hence  to  Aosta  (p.  57)  and  (MV2  M.)  Casale  Monferrato 
(see  below).  —  Light  Railway  from  Turin  (comp.  p.  27)  via  (14  M.) 
Cliivasso  and  (22'/2  M.)  Cavagnolo  (olil  church  of  Santa  Fede  with  Roman- 
esque carvings)  to  (23  M.)  Brusasco  (555  It.),  on  the  N.  verge  of  the  Colli 
Torinesi  (p.  1^9). 

A  road  leads  from  Chivasso  to  the  S.  to  (2  M.)  San  Oenesio,  with  sul- 
phur baths  (Gr.  Hot.  San  Genesio,  pens,  from  8  fr.,  open  May  to  Nov.). 

Near  (25  M.)  Saluggia  the  train  crosses  the  impetuous  Dora 
Baltea  (p.  54).  To  tlie  left,  a  glimpse  of  the  Graiau  Alps;  then  of 
the  Val  d'Aosta.  —  29  M.  Livorno  Ve.rcellese. 

36 Y2  *!•  Santhia  (Rail.  Restaurant;  Alb.  del  Pallone),  with  5200 
inhabitants.  The  church  contains  an  altar-piece  by  Gaud. Ferrari.  — 
Hallway  to  Biella,  see  p.  64;  steam-tramway  to  Ivrea,  see  p.  54. 

49  M.  Vercelli  (430  ft.;  Tre  Re;  Leon  d'Oro),  an  episcopal 
town  with  17,900  inhab.  From  the  station  we  see  the  imposing 
clHirch  of  Sant'  Andrea,  founded  in  1219,  with  a  dome  and  two  W. 
towers  like  those  of  northern  churches.  Interior  early-Gothic.  Ad- 
jacent is  a  Museo  Lapidario,  with  Roman  inscriptions  and  sculptures. 
The  church  of  San  Cristoforo  contains  frescoes  by  G.  Ferrari  (1532- 
38)  and  B.  Lanini ;  by  the  high-altar,  *Madonna  and  St.  Christopher 
in  an  orchard,  by  Gaud.  Ferrari.  Santa  Caterina  and  San  Paolo 
each  contain  a  work  by  G.  Ferrari,  and  there  is  another  (a  Pieta, 
after  Perugino)  in  the  Jstituto  di  Belle  Arti.  In  the  cathedral- 
library  are  some  rare  old  MSS.  —  To  the  S.  of  Vercelli  lie  the 
Campi  Raudii,  where  Marius  defeated  the  Cimbri  in  B.C.  101. 

Steam-tramways  ply  from  Vercelli  to  Trino  on  the  S.W.,  to  Casale 
Monferrato  (see  below)  on  the  S.,  to  the  N.  to  Aranco-Bovgosesia  (p.  68) 
and  to  Biandraie  and  Fara,  and  to  the  N.W.  to  Biella  (p.  61). 

From  Vercelli  to  Alessandria,  35  M.,  railway  in  ca.  2  hrs.  (fares 
6  fr.  50,  4  fr.  55,  2  fr.  95  c.).  —  The  chief  intermediate  station  is  (Ui/^  M. 
Casale  Monferrato  (380  ft.;  Rosa  Rossa,  with  steam-heating;  Angela),  on 
the  right  bank  of  the  Po,  with  18,900  inhab.,  the  ancient  capital  of  the 
Duchy  of  Monferrato,  which  parsed  in  153B  to  the  Gonzagas  (p.  258).  The 
interesting  Romanesque  Cathedral,  a  vaulted  basilica  with  double  aisles 
and  a  fine  atrium,  was  founded  in  741  by  the  Lombard  king  Liutprand, 
and  rebuilt  in  1107.  It  contains  several  good  paintings  (by  G.  Ferrari  and 
others),  and  sculptures  by  Lombard  masters.  The  church  of  San  Domenico, 
in  the  Renaissance  style,  the  Palazzo  di  Cilth,  with  a  handsome  colonnade, 
and  the  old  citadel  of  San  Giorgio  are  also  noteworthy.  The  Ghibelline 
prince  William  of  Montferrat  is  mentioned  by  Dante  in  his  Purgatory 
(VII.  134).  A  visit  may  be  paid  from  Casale  to  the  Sacro  Monte  di  Crea, 
a  pilgrim-resort  resembling  the  Mt.  Calvary  at  Varallo.  The  chapels  con- 
tain terracotta  groups  by  Tabacchetii  and  others  (nearly  all  freely  restored); 
and  in  the  church  is  a  painting  by  Macrino  d'Alba.  —  Casale  Monferrato  is 
the  junction  of  the  Asti-Mortara  line  (p.  52)  and  of  that  to  Chivasso  (see 
above).  It  is  also  connected  with  Alessandria,  with  Vercelli  (see  above), 
and  with  Montemagno  (p.  52:  via  Altavilla)  by  tramways.  —  Various  small 
stations,  including  (28  M.)  Valenza  (p.  190).  —  35  M.  Alessandria,  see  p.  53. 

From  Vercelli  to  Pavia,  see  p.  190. 

The  train  crosses  the  Sesia  (p.  71);  to  the  left  rise  the  Alps, 
with  the  magnificent  Monte  Rosa  group.  —  52  M.  Borgo  Vercelli. 


to  Milan. 


NO  VARA. 


Id.  RouU. 


67 


62  M.  Novara  (490  ft.;  Rail.  Restaurant;  Alb.  d' Italia,  Via 
lleiiedetto  Oairoli,  II.  3,  omii.  ^/^  fV. ;  Hot.  de  la  Ville,  Via  Gaiidcnzio 
Ferrari,  R.  21/2,  omii.  72 f''-  j  ^^^-  TreRe,  clean),  the  Roman  Novaria, 
an  episcopal  town  and  formerly  a  fortress,  with  17,600  inhab.,  was 
the  scene  of  a  victory  gained  by  the  Anstrians  under  Radetzky  over 
the  Piedmontese  in  1849,  which  led  to  the  abdication  of  Charles 
Albert  (in  the  Palazzo  Bellini,  sec  p.  68). 


nmn,lo.i<n1.^ 


From  the  station  we  follow  the  Via  Garibaldi  to  the  Piazza 
Cavour.  A  little  to  the  W.,  at  the  end  of  the  Via  Gaudenzio  Ferrari, 
rises  the  church  of  San  Gaudenzio,  erected  about  1570  by  Tibaldi, 
with  a  dome  39G  ft.  high,  added  by  AntonelH  (p.  39)  in  1875-78. 
The  church,  without  aisles,  in  imitation  of  Sant'  Andrea  at  Mantua, 
contains    (^nd  chapel  to  the  left)    a  large  altar-piece  by  Qaud. 


68     Route  16.  MAGENTA. 

Ferrari  (1514,  restored  in  1902).  The  tower  commands  a  wide 
view.  —  To  the  S.,  in  the  Via  Negroni,  rises  the  Palazzo  Bellini, 
huilt  by  P.  Tibaldi;  the  facade  dates  from  about  1680,  the  pretty 
rococo  decoration  of  the  interior  from  the  18th  century. 

The  Cathedral,  originally  an  early-Christian  edifice,  has  been 
entirely  altered  by  rebuilding  and  by  additions  due  to  Antonelli. 
It  contains  frescoes  by  Bern.  Lavini  and  a  Marriage  of  St.  Catharine, 
by  Qaud.  Ferrari.  On  the  opposite  side  of  the  entrance-court  is  an 
early-Romanesque  BapHaterxj.  —  A  few  yards  to  the  W.  is  a  marble 
statue  of  Charles  Emmanuel  III.,  by  Marches!. 

On  the  S.  side  of  the  Piazza  Vittorio  Emannele  is  the  old  Castello. 
From  the  ramparts,  close  by,  a  fine  view  of  the  Alps  is  obtained. 
—  The  Biblioteca  Civica  possesses  two  small  works  (angels)  by 
G.  Ferrari.  —  The  tasteful  terracotta  ornamentation  (15th  cent.) 
on  the  Casa  della  Forth,  Via  Cannobio  8,  should  be  noticed. 

Tramway  to  Yigevano  (p.  180)  and  to  Biandrate  (p.  66). 

From  Novara  to  Varallo,  34  M.,  railway  in  2'/i  bra.  (fares  6  fr.  40, 
4  fr.  50,  2  fr.  90  c.).  —  lOV-2  M.  Briona  (710  ft.)-,  I8V2  M.  RomagnanoSesia 
(p.  65),  junction  of  the  line  from  Turin  to  Arena;  25V2  M.  Yolduggia, 
station  for  the  villafte  of  that  name,  3  M.  to  the  E.,  where  Gaudenzio 
Ferrari  (ca.  i471-i5''4)  was  horn-,  26V2  Borgosesia  (light  railway  to  Ver- 
celli,  see  p.  66);  3OV2  M.  Quarona,  with  a  Madonna  by  Gaud.  Ferrari  in 
the  parish-church.  —   Varallo,  see  p.  71. 

From  Novaea  to  Seregno  ,  831/2  M.,  railway  in  1 1/2-21/2  hrs.  (fares 
6  fr.  60,  3  fr.  65,  2  fr.  25  c).  —  8  51.  Turligo,  on  the  Naviglio  Grande  (see 
below),  with  brge  electric  works  (1903).  —  16  M.  Bvsto-Arsizio  (p.  5).  — 
18  31.  Castdlanza  (p.  165).  —  25  M.  Saronno  (p.  164).  —  331/2  M.  Seregno 
(p.  167). 

At  Novara  the  Turin  and  Milan  line  is  crossed  by  those  from 
Domodossola  (p.  4)  and  from  Arona  (p.  201)  and  Bellinzona  to  Genoa 
(R.  30).   Carriages  are  often  changed  at  Novara. 

681/2  M.  Trecate.  The  line  crosses  the  Ticino  by  a  handsome  stone 
bridge  of  eleven  arches ,  which  the  Austrians  partially  destroyed 
before  the  battle  of  Magenta.  Farther  on  we  cross  the  Naviglio 
Grande  (p.  132),  a  navigable  canal  constructed  in  the  13th  century. 

76  M.  Magenta  (450  ft.). 

Near  Magenta  stands  the  Church  of  San  Martino,  by  Perrucchetti,  erected 
in  1903  to  commemorate  the  victory  of  the  French  and  Sardinians  over 
the  Austrians  on  4th  June,  1859,  which  compelled  the  latter  to  evacuate 
Lombardy.  Opposite  the  station,  on  an  eminence,  are  a  charnel-house 
and  a  bronze  statue  of  M;  cMahon,  by  Luigi  Secchi  (1895). 

The  line  intersects  numerous  rice-flelds,  which  are  kept  under 
water  for  months  at  a  time.  —  "^^^li  M.  Vitttione;  841/2  M.  Rhb 
(p.  5),  where  the  line  unites  with  the  Simplon  Railway. 

93  M.   Milan  (see  p.  128). 


69 


17.  From  Domodossola  to  Xovara.    Lake  of  Orta. 
From  Orta  to  Varallo. 

56  M.  Railway  in  31/2-4  hrs.  (farea  10  fr.  45,  7  fr.  35,  4  fr.  70  c.);  to 
Qravellona,  the  station  for  the  Lago  Magiziore  (omn.  to  Pallanza  and  to 
Locarno,  see  pp.  197,  192),  I81/2  M.,  in  1  hr.  (fares  3  fr.  50,  2  fr.  45,  1  fr.  65  c). 

Domodossola ,  see  p.  4.  The  railway  runs  straight  through  the 
Val  d'Ossola,  following  the  right  bank  of  the  Toce  or  Tosa  (p.  4), 
while  the  Simplon  Railway  (II.  2)  follows  the  left  hank.  —  At 
(3'/2  M.)  Villadossola,  the  Antrona  Valley  opens  on  the  right  (see 
Baedeker  s  Switzerland).  At  (7  M.)  Pied jmwiera  (810  ft. ;  Corona; 
Alb.  Piedimulera ;  Alb.  della  Stazione)  the  Val  Anzasca  opens  to 
the  right  (road  to  Macugnaya,  '20  M.,  see  Baedeker  s  Switzerland). 
The  railway  crosses  the  Anza  and  then  the  Tosa  (bridge  980  yds. 
long).  9  M.  Vogogna;  11  M.  Premosello;  13  M.  Cuzzago;  stations 
on  the  Simplon  Railway  also  (see  p.  4).  —  Beyond  the  last  the  Tosa 
is  crossed  (bridge  510  yds.  long)  to  (151/2  M.)  Omavasso  (690  ft.; 
Italia;  Croce  Bianca). 

I81/2  M.  Gravellona  Toce  (Rail.  Restaurant;  inns  poor),  with 
large  cotton-mills,  at  the  junction  of  the  Strona  with  the  Tosa. 

Gravellona  lies  about  2V4  M.  to  the  S.W.  of  the  station  Pallanza-Fondo 
Toce  on  the  Simplon  llailwiiy  (comp.  p.  5).  ilotor-omnibua  to  Locarno, 
see  p.  Ib2;  diligence  to  Pallanza^  see  p.  197  (carr.  with  one  horse  5,  with 
two  horses  10  fr.).  —  Road  to  (5  M.)  Baveno  (p.  198)  via  Feriolo  (carr.  to 
Baveno  4,  with    two  horses  8  fr.). 

The  railway  runs  to  the  S.  through  the  fertile  valley  of  the  Strona. 
Beyond  (21  M.)  Crusinallo  it  crosses  the  riv^r  and  immediately 
afterwards  the  Nigulia  Canal,  which  drains  the  Lake  of  Orta. 

23  M.  Omegna  (995  ft. ;  Albergo  della  Posta),  with  a  large  paper- 
mill,  lies  at  the  N.  end  of  the  charming  Lake  of  Orta  (950  ft.  above 
the  sea;  71/2  M.  long),  now  known  also  as  the  Logo  Cusio  from  its 
(somewhat  doubtful)  ancient  name.  —  The  line  runs  high  above  the 
lake,  commanding  beautiful  views  of  it.  Beyond  (27  M.)  Pettenasco 
we  cross  the  Pescone,  and  then  the  imposing  Sassina  Viaduct. 

28'/2  M.  Orta  Novarese. 

The  railvyay-station  lies  about  1  M.  above  Orta.  On  leaving  it  we 
turn  to  the  left,  pass  below  the  railway,  and  proceed  iu  a  str;iight  direction. 
About  halfway  to  the  town  we  pass  the  Villa  Crespi,  in  a  Moorish  style, 
beyond  which  a  guide-post  points  to  the  right  to  the  Monte  d'Orla  and 
the  OJi  hr.)  Alb.  Belvedere. 

Hotels.  'Alb.  liELVEDEBK,  on  the  W.  slope  of  the  Monte  d'Orta,  with 
fine  view,  R.  3,  D.  4  fr.  (Engl.  Ch.  Serv.  in  summer).  —  Alb.  San 
61DL10,  very  fair,  Alb.  Okta,  both  in  the  Piazza,  by  the  lake,  IV4  M.  from 
the  railway-station;  Hot. -Pens.  Garibaldi,  at  the  rail,  station.  —  Boats 
for  hire  at  the  Piazza. 

The  little  town  of  Orta  (800  inhab.)  consists  mainly  of  a  Piazza, 
open  on  the  side  next  the  lake,  one  long  narrow  street,  and  a 
number  of  villas  lining  the  road  to  the  station.  It  lies  opposite 
the  small  hola  San  Oiulio,  at  the  S.W.  base  of  the  Monte  d'Orta 
(1315  ft.),   or  Sacro  Monte,   a  beautifully  wooded  hill,   stretching 


70     Route  17.  ORTA.  From  Domodoss^oln 

out  into  the  lake.  The  ascent  of  the  Sacro  Monte  may  be  made 
either  from  a  point  halfway  between  the  town  and  the  station  (see 
p.  69)  or  from  the  Piazza,  through  the  grounds  of  the  Villa  of 
Marchese  Natta  (50  c).  In  the  16th  cent.  20  chapels  were  erected 
here  in  honour  of  St.  Francis  of  Assisi,  each  containing  a  scene  from 
his  history  in  painted  lifesize  figures  of  terracotta,  with  a  back- 
ground 'al  fresco'.  The  best  groups  are  in  the  13th,  16th,  and 
20th  chapels;  in  the  last  is  represented  the  canonisation  of  (he 
saint  (fee  for  adm.  to  each  chapel,  20-30  c).  Various  points  on  the 
hill  command  charming  surveys  of  the  lake,  while  the  panorama  from 
the  Campanile  at  the  top  (50  c.)  includes  the  snowy  Monte  Rosa, 
rising  above  the  lower  hills  to  the  W. 

A  boat  to  the  Isola  San  QiuUo  and  back  costs  li/'2  fr.  The  ancient  church 
here  was  founded,  according  to  the  legend,  by  St.  Julius,  who  came  from 
(jreece  in  379  to  convert  the  natives,  and  has  been  frequently  restored. 
It  contains  reliefs,  old  frescoes,  and  a  Romanesque  pulpit.  In  the  sacristy 
are  a  Madonna  by  Gaudenzio  Ferrari  and  some  old  vestments,  while  the 
crypt,  below  the  high-altar,  contains  a  shrine  of  silver  and  crystiil,  with 
the  body  of  St.  Julius. 

Picturesque  Exouksions  may  be  made  from  Orta  to  the  (1  hr.)  Madonna 
delta  Bocciola  (1565  ft.) ,  situated  on  the  hill  above  the  station,  to  the 
W.,  and  to  the  (i'/i  hr  )  Castello  di  Bucdone  (see  below;  boat  to  Buccione 
11/2  fr.),  to  the  S.,  both  points  commanding  good  views.  By  Bella  (see  below) 
to  (i/2hr.)  AUo,  with  extensive  granite-quarries  (branch-railway  fromGoz- 
zano,  see  below),  and  to  (1  hr.)  the  J/adoraH(i  del  Sasso  {'iO'iQit.),  the  pretty 
church  of  the  hamlet  of  Boletto,  on  a  lofty  cliff,  commanding  a  tine  view. 

—  The  MoNTK  MoTTARONE  may  be  ascended  from  Orta  in  4-5  hrs.  via  Car- 
ceyna,  Armeno  (carr.  practicable  to  this  point;  beyond  it  ox-carts),  and 
Cheggino{sce  p.  201 ;  arrows  on  the  houses,  'al  Mottarone'  or  'al  Mergozzolo'); 
guide  6,  donkey  10  fr. ;  over  the  Mottarone  to  Baveno  or  Stresa,  10  and  15  fr. 

Beautiful  views  of  the  lake  as  we  proceed.  In  the  centre  lies  the 
island  of  San  Giulio  (p.  70),  and  on  the  steep  cliffs  of  the  W.  bank  is 
the  church  of  Madonna  del  Sasso  (see  above).  Beyond  (301/2  M.)  Cor- 
cojiio  the  train  traverses  a  cutting  on  the  W.  side  of  the  Castello  di 
Buccione,  a  conspicuous  old  watch-tower  at  the  S.  end  of  the  lake. 

—  331/0  M.  Oozzano,  a  considerable  village  (branch-line  to  Alzo, 
see  above).  We  now  traverse  the  fertile  Val  d'Ayogna.  36'/2  M. 
Boryomanero  (p.  65),  junction  for  the  line  from  Turin  to  Arena.  — 
46V2  M.  Momo  (1205  ft.). 

56  M.  Novara,  see  p.  66.  From  Novara  to  Milan,  railway  in 
I-I1/2  lir.,  see  p.  68;  to  Laveno  in  1V4-2  hrs.,  see  pp.  190,  189. 


Feom  Oeta  oveu  the  Colma  to  Varallo,  41/2  hrs.  (donkey  6, 
to  the  Colma  3  fr. ;  guide,  5  fr.,  unnecessary).  On  the  W.  bank  of 
the  lake,  opposite  Orta,  the  white  houses  of  Pella  (1000  ft.  ;  Pesce 
d'Oro,  unpretending)  peep  from  amidst  chestnuts  and  walnuts 
(reached  by  boat  from  Orta  in  20  min. ;  fare  1  fr.).  We  now  follow 
the  road  leading  along  the  slopes  above  the  W.  bank,  and  then  a 
footpath  leading  to  the  left  to  (1  hr.)  Arola  (2015ft.).  At  Arola  we 
obtain  a  tine  retrospect  of  the  lake  of  Orta.   We  turn  to  the  left  5  min. 


to  Novrira.  VARALLO.  77.  Uoute.    71 

beyond  the  village,  descend  a  little,  and  then  keep  on  for  '/o  hr.  on 
the  same  level,  skirting  the  gorge  of  the  Pellino,  which  here  forms  a 
pretty  waterfall.  We  next  ascend  through  wood,  between  weatlier- 
beaten  blocks  of  granite,  to  the  (8/4  hr.)  wooded  Colle  della  Colma 
(3090  ft.).  An  emineni-e  to  the  left  commands  a  splendid  view, 
embracing  Monte  Rosa,  the  lakes  of  Otta  and  Vavese,  and  tlie  plain 
(more  extensive  from  the  Monte  Brianco,  3980  ft.,  3,4  hr.  to  the  S.). 
In  descending  (to  the  right),  we  overlook  the  fertile  ValSesia,  with 
its  villages.  The  path  leads  through  groves  of  chestnuts  and  walnuts 
to  (3/4  hr.)  Civiasco  (24'20  ft.  ;  several  Cantine),  whence  a  fine  new 
road  (short-cut  by  the  old  path  to  the  left),  affording  a  magnificent 
view  of  Mte.  Rosa,  winds  down  to  (2/4  hr.)  — 

Varallo.  —  Hotels.  "Albkrgo  d^Italia,  with  garden,  R.  S'/z-S,  dcj.  3, 
D.  4,  pen.s.  7-S  tr.,  inc).  wine,  omn.  50c.  (closed  Dec. -March);  "Posta, 
R.  21/2-5,  B.  IV2,  dc=j.  2V-J.  D.  4,  pens.  6-8,  omn.  1/2  fr. ;  Pakigi;  Ckoce 
BiANOA.  —  Hydropathic:  ''Splendid  Pakk  Hotel  (open  1st  JIay-loih  Oct.; 
pens.  9-11  fr.),  beyond  the  Mastalkpne  bridge,  with  swimming-baih. 

Post  Office  in  the  Palazzo  di  Citta.  —  Cltih  Alpino  (section  of  the 
Italian  Alpine  Club),  Piazza  Nuova,  with  reading-room  (strangers  admitted). 

English  Cfizirch  iSeri-ice.  —  Resident  English  Fliysician. 

Varallo  (1480  ft.),  with  2400  inhab.,  the  terminus  of  the  rail- 
way from  Novara  (p.  68)  and  the  capital  of  the  Val  Grande,  is  finely 
situated  at  the  junction  of  the  Mastallone  with  the  Sesia,  which 
descends  through  the  Val  Grande  from  Monte  Rosa. 

In  the  Piazza  Vitt.  Emanuele,  at  the  entrance  to  the  town  from 
tlie  station,  is  the  high-lying  collegiate  church  o{  San  Gaudenzio. 
Hehind  the  high-altar  of  the  church  is  a  picture  in  six  sections 
(Marriage  of  St.  Catharine,  Pieta,  and  Saints)  by  Gaud.  Ferrari 
(p.  68).  The  church  of  Santa  Maria  delle  Grazie,  at  tlie  approach 
to  the  Sacro  Monte,  contains  a  series  of  *Scenes  from  the  life  of 
Christ  (1507-13;  rood-screen)  and  Other  frescoes  (left  aisle)  by  this 
master,  while  there  is  also  an  Adoration  of  the  Child  by  him  over 
the  portal  of  the  church  of  Santa  Maria  di  Loreto,  about  -^4  M.  from 
the  village. 

The  building  of  the  SocielH  per  C Incoraggiarnenlo  alle  Belle  Arii^ 
in  the  Via  del  Santuario,  contains  a  small  picture-gallery  and  some 
natural  history  collections. 

The  -Sacro  Monte  (Sanliiario  di  Varallo;  1995  ft.),  a  frequented  pilgrim- 
resort,  rising  in  the  immediate  vicinity  of  the  town,  is  ascended  from  Santa 
Maria  delle  Grazie  (see  above)  in  20  niin.  by  a  paved  path  shaded  by 
beautiful  chestnuts,  and  commands  a  delightful  view.  This  '■Nuova  Geriim- 
lemnte  nel  Sacro  Monte  di  Varallo^  was  founded  in  1486  by  Bernardino 
Caimi,  a  Milanese  nobleman  and  Franciscan  monk,  with  the  sanction  of 
Pope  Innocent  VIII.;  but  as  a  resort  of  pilgrims  it  did  not  become  im- 
portant until  after  the  visits  of  Cardinal  Borromeo  (p.  202).  —  On  the  lop 
of  tlie  hill  and  on  its  slopes  are  a  church  and  46  Cuavkls,  or  oratories, 
containing  scenes  from  sacred  history  in  painted  lifesize  figures  of  terra- 
cotta, with  supplementary  frescoes,  beginning  with  the  Fall  in  the  1st 
chapel,  and  ending  with  the  Entombment  of  the  Virgin  in  the  45th.  These 
are  the  work  of  Oauden:io  Ferrari  (No.  5.  The  Magi,  '38.  Crucifi.xion), 
his  pupil  Bern.  Lanini,  Tabaec/ietii  (d.  1615),  Morazzone,  Oiov.  d'Knrico 
dWlaijna  (•!.   164)),   and   otLier  more    modern  and  less  gilted  ;u-tists.     The 


72     Route  17.  ALAGNA. 

handsome  Chdkch,  built  by  Pellegrino  Tibaldi  after  1578  at  Card.  Borro- 
meo's  expense,  has  a  modern  facade.  Iq  the  dome  is  a  plastic  represen- 
tation of  the  Assumption,  with  about  150  figures,  by  Bossola  and  Volpini 
of  Milan.  On  the  top,  adjoining  the  church,  are  the  Albergo-Pension  Alpina 
and  a  Cafd. 

Feom  Vaballo  thkough  the  Val  SiisiA  TO  Alagsa  (23  M. ;  omnibus 
twice  daily  in  5  lirs.,  fare  4  fr. ;  carriage  14,  with  two  hordes  20,  landau 
25  fr.)  a  road  ascends  via  (7  M.)  Balmuccia  (1900  ft.),  at  the  inQux  of  tbe 
Sermenta,  and  (16  M.)  Moliia  to  (21  M.)  Riva-Valdobbia  (302S  ft.;  'Udtel 
des  Atpes),  beautifully  situated,  where  ttie  peaks  of  Mte.  Rosa  become  vis- 
ible to  the  N.W.  An  easy  bridle  path  lead-i  hence  through  Val  Vo(/na,  via 
(3/4  hr.)  Casa  Jaiizo  (5560  ft.;  *Alb.  and  Peng.  Favro)  and  tbe  Col  di  Val- 
dobhia  (8133  ft.)  to  (6-7  bra.)  Gressoneiz-StJean  (p.  55).  —  23  M.  Magna 
(3905  It.;  'Grand  HOtel  Alagna,  K.  2V2-4,  pens.  6-11  fr. ;  'BStel  MoiUe  Rosa, 
R.  8,  pen?.  71/2-9  fr. ;  'Grand  HOtcl  des  Alpes,  pens.  7-10  fr.),  a  large  village, 
finely  situated,  is  much  frequented  as  a  summer-resort.  Excursion';,  and 
passes  to  Macugnaga  and  Zermatt,  see  Baedekers  Switzerland.  To  Qressoney- 
lU'TrMti  over  the  Voile  dOlen  (9420ft.;  Guglielmina's  Inn),  6-7hrs.,  at- 
tractive and  easy  (see  p.  55). 


III.  Liguria. 


18.    Genoa 75 

a.  The  harbour  and  adjoiuing  afreets,  80.  —  b.  From  the 
harbour  through  the  Via  San  Lorenzo  to  the  Piaz'/a  Um- 
berto  Primo  and  the  Piazza  Deferrari ,  83.  —  c.  From 
the  Piazza  Deferrari  to  the  west  railway-station  and  the 
lighthouse,  85.  —  d.  From  the  Piazza  Deferrari  to  the 
Via  di  Circonvallaziiine  a  Mare  via  the  Piazza  Corvctto, 
Acquaeola,  and  Corso  Andrea  Podesta,  91.  —  e.  From 
the  Piazza  Corvette  to  the  Piazza  Manin;-  Via  di  Circon- 
vallazlone  a  Monte;  Castellaccio ;  Campo  Santo,  f.3. 

1'.).    Flora  Genoa  to  Ventimiglia.    Riviera  di  Ponente     .    .     'Ji 
Pegli  and  Arenzauo,  9.5.  —  Savona,  96.  —  Alas.sio,  98.  — 
San  Remo,  99.  —  Ospedaletti,  103.  —  Bordighera,  104. 

'20.    From  Genoa  to  Pisa.      Riviera  di  Levante 107 

Nervi,  107.  —  Road  from  Recce  to  Rapalle.  Mente  di 
Portolino,  109.  —  Santa  Margherita,  110.  —  From  Santa 
Margherita  to  Porteftuo,  111.  —  Rapalle,  112.  —  Road  from 
Rapallo  to  Chiavari,  113.  —  Sestri  Levante,  lU.  —  Road 
from  Sestri  Levante  to  Spezia ;  to  Borgotaro,  115.  — 
Levanto.  Spezia,  116.  —  From  Avenza  to  Carrara,  120.  — 
Viaregsio,  121. 

•^i.  The  Apuaii  Alps 123 


The  Maritime  and  Ligwi'in  Alpt  and  the  contiguous  .4^e«»mes  (the  bound- 
ary between  which  is  some  2^151.  to  the  W.  of  Genoa)  slope  gently  north- 
wards to  the  Po  in  the  form  of  an  extensive  rolling  country,  and  descend 
abruptly  towards  the  sea  to  the  S.  Occasional  earthquakes  betoken  that 
the  process  of  settlement  is  not  quile  at  an  end.  On  the  W.  portion  of 
the  Qulf  of  Genoa  the  mountains  are  intersected  by  short  and  deep  cross- 
valleys,  the  line  of  which  may  be  traced  even  below  the  sea;  in  the  E. 
portion  the  rivers  flow  in  longitudinal  valleys,  breaking  through  to  the 
sea  only  a  short  distance  above  their  mouths.  The  narrow  Riviera,  or 
coast-district,  is  sheltered  from  the  N.  wind  by  the  mountains,  and  enjoys 
a  fine  sunny  aspect.  While  the  mean  temperature  at  Turin  is  52°  Fahr., 
it  is  no  less  than  61°  at  Genoa;  and  again,  while  the  temperature  of  January 
averages  31°  at  the  former,  and  occasionally  falls  below  zero,  it  averages 
'iG°  at  the  latter,  and  is  rarely  lower  than  23°.  The  climate  of  the  Riviera 
is  therefore  milder  than  that  of  Rome,  and  ever  since  the  middle  of  the 
19th  cent,  has  attracted  crowds  of  visitors,  fleeing  fr.'m  the  northtrn  winters. 

The  Riviera,  divided  by  Genoa  into  an  eastern  (Riviera  di  Levante ;  p.  107) 
and  a  larger  western  half  (Riviera  di  Ponente).^  which  belongs  to  France  from 
\entimiglia  westwards,  is  one  of  the  most  picturesque  regions  of  Italy.  It 
affords  a  delightful  variety  of  landscapes,  bold  and  lofty  promontories  alter- 
nating with  wooded  hills,  and  richly  cultivated  plains  near  the  coast.  At 
places  the  road  passes  precipitous  and  frowning  cliffs,  wa=hcd  by  the  surf 
of  the  Mediterranean,  while  the  summits  are  crowned  with  the  venerable 
ruins  of  towers  erected  in  bygone  ages  for  protection  against  pirates.  At 
other  places  extensive  plantations  of  olives,  with  their  grote.sque  and  gnarled 
stems,  bright  green  pine-forests,  and  luxuriant  growths  of  figs,  vines, 
citrons,  oranges,  oleanders,  myrtles,  and  aloes  meet  the  view,  and  even 
palms  are  occasionally  seen.  Many  of  the  towns  are  charmingly  situated 
in  fertile  spots  or  on  picturesque  hills ;  others,  commanded  by  ancient 
strongholds,  are  perched  like  nests  among  the  rocks.  little  cliurche,"  and 
chapels    peering   from    the   sombre  foliage  of  cypresses,  and  gigantic  grey 

6 


74  LIGURIA. 

pinnacles  of  rock  frowning  upon  the  smiling  plain,',  frequently  enbauce 
the  cbarms  of  the  scenery,  while  the  vast  expanse  of  the  Mediterranean, 
with  its  ever- varying  hues,  forms  one  of  the  chief  attractions.  At  one 
time  the  sea  is  bathed  in  a  flood  of  sunshine,  at  another  Us  beautiful  blue 
colour  arrests  the  eye;  or  while  the  shore  immediately  below  the  spectator 
is  lashed  with  wild  breakers,  the  snowy  crests  of  the  waves  are  gradually 
softened  to  view  in  the  purple  distance. 

As  the  country  differs  in  many  respects  from  Piedmont,  so  also  do  its 
Inhabitants,  while  their  Genoese  dialect,  which  is  difficult  for  foreigners 
to  understand,  occupies  a  middle  place  between  the  Gallic  patois  of  Upper 
Italy  and  that  of  Sardinia.  The  historical  development  of  the  two  countries 
has  also  been  widely  different.  The  natural  resource  of  the  Ligurians^  or 
the  inhabitants  of  the  Eiviera,  was  the  sea,  and  they  were  accordingly  known 
to  the  Greeks  at  a  very  early  period  as  pirates  and  freebooters.  As  the  Greek 
Massalia  formed  the  centre  of  trade  in  S.  France,  with  Nikaa  (Nice)  as  its 
extreme  outpost  towards  the  E.,  so  Genoa  constituted  the  natural  outlet  for 
the  traffic  of  the  Riviera.  During  the  3rd  cent.  B.C.  Genoa  became  subject 
to  the  Romans,  who  in  subsequent  centuries  had  to  wage  long  and  obstinate 
wars  with  the  Ligurians,  in  order  to  secure  the  possession  of  tlie  military 
coast-road  to  Spain.  As  late  as  the  reign  of  Augustus  the  Roman  culture 
had  made  little  progress  here.  At  that  period  the  inhabitants  exported 
timber,  cattle,  hides,  wool,  and  honey,  receiving  wine  and  oil  in  exchange. 
In  the  7th  cent,  the  Lombards  gained  a  footing  here,  and  thenceforth  the 
political  state  of  the  country  was  gradually  altered.  The  W.  part  witli 
Nice  belonged  to  Provence,  but  in  1388  came  into  the  possession  of  the 
Counts  of  Savoy,  forming  their  only  access  to  the  sea  down  to  the  period 
when  they  acquired  Genoa  (1815).  After  the  Austrian  war  of  1859  Nice 
(1512  sq.  M.)  and  Savoy  (3889  sq.  M.)  were  ceded  by  Italy  to  France  in 
1860  as  a  compensation  for  the  services  rendered  by  Napoleon  III. 

The  district  of  Liguria,  consisting  of  the  provinces  of  Porto  MauriHo 
and  Oenoa,  with  an  area  of  2040  sq.M.  and  1,075,8(XJ  inhab.,  once  formed  the 
Rbpdblic  of  Genoa,  which  in  the  13th  cent,  became  mistress  of  the  W. 
part  of  the  Mediterranean ,  and  afterwards  fought  against  Venice  for  the 
supremacy  of  the  Levant.  Genoa's  greatness  was  founded  on  the  ruin  of 
Pisa.  The  Tuscan  hatred  of  the  Genoese  was  embodied  in  the  saying  — 
'Mare  senza  pesce,  montagne  senza  alberi,  uomini  senza  fede,  e  donne  senza 
vergogna',  and  Dante  (Inf.  xxxiii.  151-53)  addresses  them  with  the  words  — 
'Ahi,  Genovesi,  uomini  diversi 
D'ogni  costume,  e  pien  d'ogni  magagna; 
Perche  non  siete  vol  del  mondo  spersiV 
Modern  historians  describe  the  character  of  the  Genoese  in  the  middle 
ages  in  a  similar  strain.  The  whole  energy  of  the  Genoese  seems  indeed 
to  have  been  concentrated  on  commerce  and  the  pursuit  of  gain.  Notwith- 
standing their  proud  naval  supremacy ,  they  participated  little  in  the 
intellectual  development  of  Italy,  and  neither  possessed  a  school  of  art, 
nor  produced  any  scholars  of  eminence.  When  at  length  the  effete  re- 
public was  incorporated  with  Piedmont,  it  became  the  representative  of 
radical  principles  as  contrasted  with  the  conservatism  of  the  royalist  terri- 
tory. Giuseppe  Mazzini  was  born  at  Genoa  in  1808,  and  Garibaldi,  though 
born  at  Nice  (1807),  was  the  son  of  a  Genoese  of  Chiavari.  The  rivalry 
of  the  once  fai--famed  republic  with  the  upstart  Turin,  and  of  the  restless 
harbour  population  with  the  stolid  Piedmontese,  have  of  recent  years 
been  productive  of  very  notable  results.  Modern  Genoa  has,  moreover, 
regained  its  ancient  mercantile  importance,  though  its  naval  arsenal  has 
been  transferred  to  Spezia. 


mmi 


G    E    N    0   V  A 


75 


18.  Genoa.+ 


Railway  Stations.  1.  Ulazioiie  Piatza  Principe  (PI.  B,  2;  restaurant, 
dej.  2-3,  P.  3-1  fr.),  tlic  West  Station,  in  the  Piazza  Acquaverde,  is  the 
principal  station  tor  all  trains.  The  hotel-omnibuses  and  cabs  (tariff,  see 
p.  76)  wait  here  only.  —  2.  Stazione  di  Brigiiole  ov  Slazione  Orimlale  (PI.  I,  6; 
restaurant),  the  East  Station,  in  the  Piaz/.a  Guiseppe  Verdi,  in  the  Blsagno 
valley,  connected  with  the  W.  Station  by  mean.s  of  a  tunnel  below  the  higher 
parts  of  the  town,  is  the  first  place  where  tbe  Spezia  and  Pisa  trains  stop 
and  the  starting- point  for  the  local  trains  to  Chiavari.  —  The  Stazione 
Carieamento  (PI.  D,  4)  and  the  Stazione  Maritlimci  (PI.  A,  2)  are  the  goods- 
stations  for  the  harbour  traffic,  while  the  internal  trade  is  carried  on  through 
the  goods-station  in  the  Piazza  Principe  (PI.  B,  2),  adjoining  the  W.  .■:-tation. 
—  Railway-tickets  of  all  kinds  may  also  be  obtained  of  the  Fratelli  Oomlyand, 
Galleria  Jlozzini  41  (p.  91;  also  sleeping-car  agents),  and  of  Thos.  Cook  tt  Son, 
Piazza  della  Meridiana  17  (PI.  E,  4). 

Arrival  by  Sea.  Passenger-steamers  land  at  the  Ponie  Federico  Guglielmo 
(PI.  A,  B,  3)  or  at  the  Ponte  Andrea  Doria  (PI.  A,  3),  or  anchor  in  the  vicinity 
(embarking  or  disembarking  by  boat  30  c,  at  night  60  c. ;  luggage  50  c. 
per  110  lbs.).  On  the  wharf  are  the  custom-house,  post  and  telegraph  office, 
and  railway  booking-office.  —  Travellers  wishing  to  go  on  by  rail  without 
delay,  may,  immediately  after  the  custom-house  examination  on  the  quay, 
book  their  luggage  there  for  their  destination  (fee  to  the  facchino  of  the 
dogana,  20-30  c). 

Hotels  (comp.  p.  xix  ;  most  of  them  are  in  noisy  situations,  and  many 
are  variously  judi;ed;  nearly  all  the  larger  hotels  have  lifts  and  steam- 
heating).  Gkand  Hotel  de  GfiNES  fPl.  f ;  E,  5),  by  the  Teatro  Carlo  Felice, 
R.  5-10,  L.  3/4,  steam -heating  2/4,  B.  IV2,  dej.  4,  D.  6-7,  pens,  from  12, 
omn.  1  fr. ;  Grand  Hotel  Savoie  (PI.  s;  C,  2) ;  Grand  Hotel  Isotta 
fPl.  a;  F,  5),  Via  Roma  5,  R.  from  5,  B.  I'/z,  dej.  3V2,  D.  5,  pens,  from  12, 
omn.  li/j  fr. ;  'Eden  Palace  Hotel  (PI.  b;  G,  0),  Via  Serra  6-8,  below 
Acquasola  (p.  91)  and  not  far  from  the  E.  Station,  quiet,  with  pleasant 
garden,  H.  from  6,  steam-heating  1,  B.  IVz,  dej.  3'/-2-4';2,  D.  5-7  fr.;  -Hot.- 
Pexs  BKjsxaL  (PI.  p;  F,  8),  Via  Venti  Settembre  35,  K.  from  5,  B.  IV2, 
clej.  3V2i  !*•  o,  pens,  from  12,  omn.  I1/2  fr.  —  Modern  Hotel  (PI.  F,  6), 
Via  Venti  Settembre  40,  R.  4-5,  B.  I1/2,  dej.  3V2,  D.  41/2-5,  pens.  11-14  fr., 
new;    HOTEL   de   la  Ville   (PI.  d;  1),  4),   Vi.i   Carlo  Alberto.    R.   from  4, 

B.  11/2,  dej.  3'/2,  D.  5,  pens,  from  12,  omn.  1  fr. ;  Hot.  de  Londres  (PI.  h; 

C.  2);  "Hotel  Continental  (PI.  1;  E,  4),  Via  Cairoli  1,  E.  from  4,  B.  IV2, 
dej.  3'/2,  D.  5,  pens.  9-14,  omn.  I-IV4  fr.  —  The  following  arc  less  pretend- 
ing; "Hotel  Smith  (PI.  e,  D  5;  English  landlord),  Piazza  Carieamento,  with 
lift,  R.  21  2-4,  B.  11/4,  dej.  3,  D.  4,  pens.  7V2-IO  fr.,  incl.  wine,  omn.  1  fr., 
frequented  by  English  and  Americans;  Hotel  de  France  (PI.  g;  D,  5), 
R.  3-4,  oiiin.  1  fr.;  Hot.  Central  (PI.  c;  F,  5),  Via  San  Seba.stiano  8, 
R.  21/2-41/2,  B.  11/4,  dej.  21/2,  D.  4,  pens.  8-11  fr.,  incl.  wine,  omn.  ^U-i  fr. ; 
MitTHoroLE  (PI.  o;  F,  5),  Piazza  F^ntane  Marose,  R.  3,  H.  1,  dej.  3,  U.  5, 
pens.  8-10  fr.,  incl.  wine,  omn.  1  fr. ;  Roial  Aquila  (P!.  k;  C,  2),  Piazza 
Acquaverde,  near  the  W.  Station,  for  passing  tuuri.^ts,  well  spoken  of, 
R.  31/4-43/4,  B.  11/2,  d^j .  31/2,  D.  472,  omn.  1/2  fr.  —  Hot.  de  Milan  (PI.  i ;  C,  2), 
Via  Balbi  5-1;  Hot.  Helvetia  (PI.  r;  D,  3),  Piazza  Annunziata,  R.  from  21/2, 

D.  31/2,  pens,  from  71/2  fr.,  gond;  Victoria  (PI.  t;  D,  3),  Piazza  Annunziata; 
CosFiDENZA  (PI.  m;  F,  5),  Via  San  Sebaatiano  11,  with  lift,  R.  21/2,  omn. 
V4  fr.,  commercial,  well  spoken  of;  Eegina  Hotel  (PI.  q;  F,  6),  Vico  di 
San  Defendente,   above  the  Via  Venti  Settembre,   with   lift  and   steam- 


t  Genoa  is  divided  into  the  Sestieri  of  Pri,  Molo,  Portoria,  San  Vicenzo, 
San  Teodoro,  and  Maddalena.  —  The  focus  of  traffic  is  the  Piazza  Deferrari 
(PI.  E,  5,  6).  —  Via,  street;  vico,  lane;  vico  chiuso,  blind  alley;  salila,  as- 
cending street;  mura,  rampart.  —  The  houses  are  numbered  in  black;  red 
numbers  are  used  only  for  shops  (bottegUe)  and  for  the  street-entrances  to 
a  sories  of  fiats. 


76     Route  Id. 


GENOA. 


Practical 


heatiug;  Concukuia  (PI.  n  ;  F,  5),  Via  San  Giuseppe,  R.  3-3V2,  oojii.  1  fr. ; 
Alb.  (fe  RiSTOE.  Fikenze,  Via  Carlo  Alberto  31 ;  Unione,  Piazza  Campetto  9, 
R.  3,  omn.  y-ifr.;  Alb.  Nazionale  (PI.  u;  D,4),  Via  LomeUini  14,  R. 'J'/a-Sfr., 
omn.  60  c.,  patronized  by  the  Roman  Catholic  clergy;  Lloyd-Hotel  Gek- 
MANIA.  Via  Carlo  Alberto  39.  near  the  W.  station,  unpretending,  R.  from 
I'/c,  B.  1,  D.  2V2  fr-  —  Hot.-Restadrant  Righi,  see  p.  93. 

Hotels  Garnis.  Hot.  Splendide  (PI.  x;  F,  G),  Via  Elt.  Vernazza,  with 
lift  and  steam- heating,  R.  from  8,  omn.  1  fr. ;  Excelsiob  (PI.  w ;  E,  ,5), 
Via  Carlo  Felice  4,  K.  from  3,  omn.  3/4-I  fr.  —  Christian  Hospices.  Riviera 
Hosi'iz  (Prot.),  in  the  Doria  garden  (p.  90),  above  the  Piazza  Principe, 
R.  3-5,  B.  11/4,  dej.  2'/z,  !'■  3,  pens,  from  8  fr. ;  Dedtch-Katuolisches  Hospiz, 
Via  Palestro  11,  int.  4;  Sohwesteunheim  (Prot.),  Spianata  di  Ciistelletto  20a, 
int.  2,  for  ladies.  —  Pensions.  Miss  In'immo,  Via  Curtatune  1;  Fens.  Jiiniini, 
Via  Asarotti  25;  Pens.  Schloss,  Via  Almeria  15,  new;  Fens.  Senrici,  Via 
Palestro  19,  from  4'/-jfr.;  Pens.  Weber,  Via  Palestro  6-9. 

Cafes  (comp.  p.  xxiii).  Caffe  Roma,  Via  Roma,  elegant,  MUano,  Galleria 
Mazzini,  both  restaurants  aJso;  Andrea  Doria,  Via  Roma,  on  the  groundfloor 
of  the  Prefecture;  Posta,  Via  Carlo  Felice. 

Restaurants.  Teatro,  in  the  Teatro  Carlo  Felice  (PI.  E,  F,  5;  p.  77), 
very  fair;  Labd .  Via  Carlo  Felice  7;  Ristorante  Sau  Ooitarclo,  Via  Carlo 
Felice  6;  Cairo,  Via  Venti  Settembre  36,  very  fair;  Posta,  Galleria  Mazzini, 
not  expensive,  nften  overcrowded  ;  Aquila  <tOro,  Via  San  Pietro  21,  near  the 
Exchange  (p.  82).  —  Birrerie:  'Glardino  d'liulia.  Piazza  Corvetto  (PI.  F,  G,5), 
near  the  Acquasola,  with  garden,  ^Bavaria,  corner  of  Via  Venti  Settembre 
and  Piazza  JDeferrari,  both  restaurants  as  well,  with  Munich  and  Pilsener 
beer;  'Gainbriiitis  (also  dej.;  cold  viands  in  the  evening!,  Monsch,  both  in 
the  Via  San  Sebastiano  (PI.  F,  5) ;  Augustiner  Brciu,  Piazza  Corvetto  (PI.  G,  5) ; 
Birre7-ia  Pilseii,  Piazza  della  Zecca  (PI.  D,  E,  3);  Erhart,  Via  Carlo  Felice  6 
(also  dej.);  Munich  beer  at  all  these. 


Cabs  (a  tariH'  in  each). 

Per  drive  (between  the  Bisagno 
on  the  E.  and  the  lighthouse 
on  the  W.) 

I  hour      

Each  addit.   V2  hr 

To  Nervi  or  Pegli 

To  Recco 


One-horse  cab 


Two-horse  cab 


By  day 

1  — 
2- 
1  — 
5  — 


At  night 

1.50 
2.50 
1.25 
5.50 
10.50 


By  day 

1.50 
2.50 
1.50 
5.50 
8.50 


At  night 

2  — 

3  — 
1.75 
6- 

10.50 


Night-fares  are  due  from  9p.m.  (Oct. -Mar.  7  p.m.)  until  the  street- 
lamps  are  extinguished.  For  drives  beyond  the  town,  incl.  a  halt  of  '/«  hr., 
a  half-fare  extra  must  be  fiaid  for  the  return.  —  Small  articles  of  luggage 
carried  inside  free;  trunk  20c. 

Omnibus  from  the  Piazza  Deferrari  (PI.  E,  6)  via  the  Via  Garibaldi 
and  Via  Kalbi  to  the  W.  station  and  the  Piazza  Principe  (PI.  B,  2;  fare  10  c. ; 
some  of  the  omnibuses  go  on  to  the  Piazza  Dinegro,  p.  91). 

Electric  Tramways  (from  6  or  7  a.m.  to  midnight).  The  suburban  lines 
are  generally  overcrowded  by  workmen  towards  evening  (comp.  p.  130). 
1.  (white  lamps,  etc.):  Piazza  Caricamento  (PI.  D,  4,  5) -Piazza  Deferrari 
(PI.  E,  F,  6) -Piazza  Corvetto  (PI.  F,  G,  5) -Piazza  Brignole  (PI.  H,  5,  Q)-Via 
Oalata  (PI.  H,  6,  7) ;  every  9  min.,  10  c.  —  2.  (red  and  white):  Piazza 
Deferrari  (PI.  E,  F,  6) -Piazza  Corvetto -Piazza  Jlanin  (PI.  I,  4) -Via  di 
Circonvallazione  a  Monte  (station  at  San  Kicolo,  p.  93) -Piazza  Acquaverde 
(PI.  B,  C,  1)- Piazza  Principe  (PI.  B,  2j;  every  71/2  min.,  25  c.  —  3.  (while 
and  yell(iw):  Piazza  Deferrari -Pia,z7.a,  Corvetto -Corso  Andrea  Podesta  (PI.  F, 
G,  6,  7) -Via  Gal.  Alessi-  Piazza  Carignano  (PI.  E,  8);  every  0  min.,  1(1  c.  — 
r.  (white  and  yellow) ;  Piazza  Caricamento-Piaiza  Deferrari  -  Piazza  Corvetto- 
4orso  Andrea  Podesta -Kin  Corsica  (PI.  E,  F,  8,  9);  every  9  min.  10  c.  — 
C  (red):  IHazza  Deferrari -Vi&zz'a  Corvetto -Piazza  Maniu  (PI.  I,  4)-ViaMon- 
5.1do  (PI.  I.  1)-  Gampo  Santo  (p.  94);  every  71/2  min.,  15  c.  —  6.  (blue):  Piazza 
ta«/<;rrari-Piazza  Portello  (PI.  F,  4)-Piazza  della  Zecca  (PI.  D,  E.  3)-Via  Batbi- 
/)iazza  Acq "averde- Piazza  Principe  (PI.  B,  2);  every  4  min.,  10  c.  Tl'is  line 
Puns  partly  through  tunnels  in  which  the  temperature  ij  low.  —  7.  (white 


Notes.  GENOA.  18.  Route.    77 

and  blue):  Piazza  De/f.rrari -Yia.  Venti  Settembre  (PI.  F,  G,  6,  T)-Via  Cane- 
vari  (PI.  I,  K,  6-4)- Caiiipo  Santo-Uoiia-  I'rato  (p.  361);  ev^ry  18  niin.,  Sf)  c. 

—  8.  (red):  JHazza  De/errari-Xia.'VeMi  Settembre -Ponte  Pila  (PJ.  11,1,7)- 
San  Francesco  d'Albaro- Slurla- tjuarto  -  Quinto  -  iV?n'j;  every  '/i  l"".,  in 
S'J  min.,  45  0.  (In  Stiirla  '20,  to  (Juinto  35c.).  —9.  (white  ;inil  red):  Piatza 
y>e/t'iTari-Via  Venti  Settembre-PonlePila-San  Marlino  d'Alliaro-/S7«?'/«.'  every 
Vi  hr.,   20  c.     Some  of  the  cars  (white)  do  not  go  t)ey()nd  San  M.irlino.  — 

10.  (white  and  green):  Piazza  Deferrari-Via  Venti  Settembre-Piazza  Savona- 
rola  (PI.  I,  K,  8)-Cantiere  della  Face  (PI.  H,  I,  10);   every  9  min..   10  c.  — 

11.  (white  and  refl):  Piazza  RaHetta  (PI.  D,  5)-Via  di  (Jircunvallazioiic  a 
Mare-P('nte    \'\\!i.-htazione   Orientale  (PI.  I,  6,  7);    every   8  min.,    10  c.    — 

12.  (bine):  /"jazra  He/Vrrarj-Via  Venti  Settembre-Ponte  Pila-Via  Canevari- 
Ponte  CasteJlidardo-1'iaz/.a  Manzoni  (PI.  K,  ())-/Srtin  Frvttvoso ;  every  7  min, 
10  c.  —  13.  Piazza  Caricamento  (PI.  D,  5)-Via  Carlo  Alberlo-Piazza  Principe 
(PI.  B,  1)- San  P.er  (V Arena  ('25  c),  and  thence  in  the  one  direction  to 
{'ovnigliano  fdO  c),  Sestri  Pone.nte.  (45  c.),  MuUedo,  Pegli  (55  c.),  and  VoUri, 
and  in  the  other  to  Rivarolo  (40  c),  Bolzanelo  (65  c),  and  Poniedecimo  (80  c). 

Cable  Tram-ways  ( Funicolari) .  1.  Piazza  della  Zecca  (PI.  D,  3)-Oorso 
Carbonara  (PI.  E,  2  ;  10  c.)  -  San  Nicolo  (p.  tl3;  15  c.)  -  Casiellaccio  (beyond 
PI.  E,  1:  p.  93);  every  10  min.,  50  c.  —  2.  Piazza  Portello  (PI.  F,  4)-Corio 
Magenta  (PI.  F,  O,  3;  p.  93);  10c.  —  3.  Slazione  Principe  (PI.  A,  B,  1,  2)- 
Oranarolo  (p.  91);  every  '/z  hr.  (in  winter  every  hr.  on  week-day.s),  30  c, 
down  20  c 

Baths.  At  the  Palazzo  Spinola,  Salita  Santa  Caterina  (PI.  F,  5);  others 
at  Via  delle  Grazie  11,  and  Piazza  Sarzano  51  (PI.  D,  7).  —  Sea  Baths 
(July  &  Aug.)  by  the  Via  di  Circonvallazione  a  Mare  (p.  92);  also  at  San 
Pier  d' Arena,  beyond  the  lighthonpe  (p.  91;  poorly  fitted  up).  Sea-bathing 
places  on  the  Riviera,  see  pp.  94,  107. 

Theatres.  'Teatro  Carlo  Felice  (PI.  E,  F,  5) ,  one  of  the  largest  in 
Italy,  open  in  winter  only,  for  operas  i  Poliieama  Oenovese  (PI.  F,  G,  4),  near 
the  Villetta  Dinegro,  for  operas  (smoking  allowed);  /"ajranim  (PI.  F,  3,  4). 
Via  Caffaro,  chiefly  drama  (in  winter  only);  Poliieama  Regina  Margherita 
(PI.  G,  7),  Via  Venti  Settembre,  for  dramas,  operas,  and  operettas;  Verdi. 
Via  Venti  Settembre,  for  comedies  or  variety  performances;  Arena  Alfteri 
(PI.  F,  8),  Via  Corsica,  in  summer  only.  —  Band  in  the  Acquasola  Parle 
(p.  91)  three  times  a  week,  7-9  p.m.   in    summer  and  2-4  p.m.   in  winter. 

Shops.  BooKSF.r,r-ERs:  A.  Donath.  Via  linccoli  33  (PI.  E,  5;  p.  82); 
/-.  Benf,  Via  Cairoli  2;  0.  Ricd  ,C-  Co.,  Galleria  Mazzini  43;  ikincini  &  Nicola, 
Via  Cairoli  53;  Sfonrlini  <£■  Siccardi,  Via  Cairoli  41.  —  Photographs:  Noack\i 
views  of  the  Riviera  and  N.  Italy  may  be  had  from  all  art-dealert*,  etc.; 
Sivelli,  Vi.i  Cairoli  7;  Lupi,  Via  degli  vlretioi  14S;  Scin'lo,  Piazza  Fontane 
Marose  18.  —  Fii.igkee  Work:  Barahino,  Codevilla  and  others  in  the  Via 
degli  Orefici ;  Sirelli,  Via  Roma  66.  —  Silk  and  Velvet  (Velluio  di  Qenova): 
Deferrari,  Piazza  Soziglia.  —  Candied  Fruit  ( Frutti  canditi) :  Romanengo, 
Via  degli  drelici;  Ferro  e  Castanello,  Klaingiiti,  both  in  the  Piazza  Deferrari. 

—  Antiqdities:  3.  Zerega,  Via  Luccoli  96. 

Ne-wspapers.  Jl  Caffaro ;  II  Secolo  Nuovodecimo ;  II  Cittadino ;  II  Qiornale 
del  Popolo. 

Post  Office,  Galleria  Mazzini  (PI.  F,  5),  open  8  a.m.  to  9  i).m.  (now 
building  in  the  Piazza  Deferrari  under  construction).  —  Telegraph  Office 
(PI.  E,  6),  Palazzo  Uncale  (p.  84),  Piazza  Deferrari.  —  Branch  Post  *  Tele- 
graph Oflices  in  the  Via  degli  Orefiti,  Via  Venti  Settembre,  Piazza  An- 
nunziata.  Via  Balbi,  at  the  Ponte  Feilerico  Guglielmo,  the  East  Station,  etc. 

Bankers,  Oranet,  Brown,  <(•  Co.,  Via  Garibaldi  7;  Banca  Commerciale 
Ilaliana,  Piazza  Banchi  (PI.  D,  6),  near  the  Exchange  (p.  82);  ffandoz,  Via 
Luccoli  30 :  Pji'ster,  Piazza  Deferrari  38  (1st  floor). ^  —  Money  Changers 
abundant  near  the  Exchange. 

Steamboats  (comp.  p.  xviii).  The  mof^t  important  for  touristi  are  those 
of  the  Navigazione  di-nerale  lialiann  (Florio-Bubattino  ;  office,  Piazza  Acqua- 
verde),  to  all  the  chief  ports  oflLalyand  to  the  Levant.  Comp.  the  Italian 
time-table  (larger   edition).    —   The   While  Star  Line   (office  Via   Roma   4, 


78     Route  18.  GENOA.  Practical  Koten. 

second  floor)  (iespritehes  a  steamer  once  or  twice  a  week  to  New  York  or 
Boston,  via  Palermo  and  'Naples.  —  Steamers  of  ih^  Hamhurg-Amerika  Line 
(same  office)  sail  3-4  times  a  montli  to  New  York.  For  the  'liiviera  Service' 
of  this  company  (S:m  l!emo,  Munte  Carlo,  Nice),  see  p.  94.  —  The  North 
German  Lloyd  (agents,  Lenpold  Fratelli,  Piazza  San  Siro  10)  maintains  a 
weekly  line  of  steamers  from  Genoa  to  Gibraltar  and  New  York,  wliile  the 
China  and  Anstralian  steamers  of  this  company  also  touch  at  Genoa  (3  times 
a  month).  —  Steamers  of  the  Stoomvart  Maatschappij  Nederlaiid  sail  once  a 
fortnight  from  Amsterdam  (or  Rotterdam)  via  Southampton  to  Genoa,  Port 
Said,  and  Batavia.  — Ln  Veloce  from  Genoa  to  Barcelona  and  South  America, 
thrice  a  month,  to  Central  America,  once  a  month.  —  Compagnie  Fraissinei 
weekly  to  Marseilles  direct  and  also  via  Nice  and  Cannes. 

Consuls.  British  Consul-Gencral,  William  Keene,  Via  Palestro  8;  vice- 
consul,  R.  Maclean.  —  American  Consul,  James  Jeffrey  Jtoche,  Corso  Andrea 
Podesta  6. 

Physicians:  Dr.  ^rejA»5'(speaks  English),  Corso  Solferino20;  Prof.  Oiov. 
L-Ftrrari  (speaks  English).  Via  Assarotti  12;  Dr.  Zcislein.,  Cor.-o  Solferino  17; 
Dr.  TfiW,  Via  A<;sirotti  23,  int.  4;  Dr.  ^ireiff  (oculist),  Corso  Silferino  18, 
int.  3.  —  Protestant  Hospital,  Salita  San  Rocchino,  supported  by  the  for- 
eigners in  Genoa  (physician,  Dr.  Breiting).  —  Dentists:  Bright, Via.  Santi 
Giacomo  e  Filippo  35;  Markus,  Via  Roma  5;  Mela^  Salita  Santa  Catarina  1. 

—  Chemists:  Zerega  (English  prescriptions).  Via  Carlo  Felice  2;  Farmacia 
Internazionale  MoscatelU,  Via  Carlo  Felice  33  ;  Farmacia  Inter nazionale  (Hahn), 
Via  Cairoli;   Unione  Farmaceutica  Cooperativa,  Via.  Venti  Settembre  33. 

(roods  Agents.  American  Express  Co.,  Piazza  Annunziata  17;  Weiss, 
Piazza  Serri'j;lio  4;  Semler  &  Qerhardt,  Vico  San  Pancrazio  2,  near  the 
Piazza  Fossatello  (PI.  D,  4);  Weidmann,  Via  Balbi,  Vico  Sant'  Antonio  5. 
English  Churches.  Church  of  the  Holy  Ohoit  (built  by  Street,  in  the 
Lombard  style).  Via  Goito  (PI.  G,  4);  services  at  8.15,  11,  and  6:  chap., 
Rev.  Edwin  n.  Burtt,  M.  A.  Church  Seamen's  Institute,  Via  Miiano  73 
(Mr.  Burtt);  serv.  Sun.  and  Thurs.  7.30  p.m.;  weekly  concert  on  Wed.; 
reading,  writing,  and  recreation  rooms  open  daily  for  seamen,  10-10.  — 
Presbyterian  Church,  Via  Peschiera  4  (Rev.  Donald  Miller,  D.  D.);  service 
at  11  a.m.  Genoa  Harbour  Mission,  in  connection  with  the  Brit.  &  For. 
Sailors'  Society  and  the  Amer.  Seaman's  Friend  Society:  serv.  Sun.  at  7.30 
and  Tues.  at  8  p.m.  in  the  Sailors"  Rest,  15  Via  Miiano  (Rev.  Dr.  Miller  and 
Mr.  Fr.  M.  Beattie).   Social  entertainments  Frid.  at  8  p.m.  (visitors  welcome). 

Collections  and  Galleries. 
Cathedral  Treasury  (p.  84),  Mon.  &  Thurs.  1-4;  V^  fr. 
Museo  Chiossone  (p.  85),  daily,  except  Mon.,  10-3;  1  fr. 
Palazzo  Bianco  (p.  87),  daily,  11-4  (April  to  Sept.  10-4),  50  c.  Sun.  &  Thurs. 

25  c,  the  last  Sunday  of  each  month  free. 
Palazzo  Durazzo-Pallavicini  (p.  88),  daily,  11-4  (fee  1/2-1  fr-)- 
Palazzo  Reale  (p.  89),  daily,  in  the  absence  of  the  court. 
Palazzo  Rosso  (p.  86),  on  Mon.,  Wed.,   Thurs.,   Frid.,   and  Sat.,  10-4,    free 

(no  gratuities),  clo.scd  on  Tues.,  Sun.,  and  holidays. 

Principal  Attractions  (two  days).  1st  Day.  Morning:  row  in  the  Har- 
bour (p.  81);  Cathedral  (p.  83) ;  Sanf  Amhrogio  (p.  84 1 ;  Museo  Chiossone  (p.  85). 
Afternoon:  Via  Garibaldi  (p.  85)  with  visits  to  the  Palazzi  Rosso  (p.  8(3)  and 
Bianco  (p.  87);    Via  Balbi  (p.  8S) ;    Palazzo  Doria  (p.  90);  Lighthouse  (p.  91). 

—  2nd  Day.  Morning:  Villelta  Dinegro  (p.  91);  Corso  Andrea  Podestit  (p.  91); 
Santa  Maria  di  Carignano  (p.  92);  Via  di  Circonvallazione  a  Mare' [v-  (^2). 
Afternoon:  Campo  Santo  (p.  94)  and  Castellaccio  (p.  93;  best  towards  evening). 

—  Excursion  to  Nervi  (p.  107). 

Genoa,  Italian  Oenova,  Frencli  Qmes,  with  155,900  iiihai).,  the 
seat  of  a  university  and  of  an  archbishop  and  the  headquarters  of 
the  4th  Italian  army  corps,  is  a  strong  fortress  and  the  chief  com- 
mercial town  in  Italy.  Its  situation,  rising  above  the  sea  in  a  wide 
semicircle,  and  its  numerous  palaces  justly  entitle  it  to  the  epithet 
of  '■La  Superla\     The  old  town  is  a  net-work  of  narrow  and  steep 


Ilhlory.  GENOA.  75.  Route.    79 

streets,  liueil  with  many-storied  buildings,  but  the  newer  quarters 
liave  broad  aud  straight  thoroughfares.  Since  the  17th  cent.  Genoa 
has  been  protected  on  the  landward  side  by  a  rampart,  over  9  M. 
long,  which  extends  from  the  large  lighthouse  on  the  W.  side  (p.  91), 
whore  the  barracks  of  San  Benigno  afford  quarters  for  10,000  men, 
past  the  Forte  Begato  (1620  ft.),  to  the  Forte  dello  Sperone  (1690  ft.) ; 
then  descends  past  Forte  Castellaccio  (l'2r)0  ft.;  p.  93)  into  the  valley 
of  the  Bisagno,  on  the  E.  The  heights  around  the  town  are  crowned 
with  ten  detached  forts. 

The  beauty  of  its  situation  and  the  reminiscences  of  its  ancient 
glory  render  a  visit  to  Genoa  very  attractive.  Invalids ,  however, 
must  be  on  their  guard  in  winter  against  the  raw  winds  and  the 
abrupt  changes  of  temperature. 

From  the  earliest  times  Genoa  has  been  famous  as  a  seaport.  The 
Roman  form  of  its  municipal  government  was  maintained  throughout  the 
period  of  the  barbarian  invasions,  when  a  Frankish  feudal  nobility  sprang 
up  alongside  of  the  native  noblesse.  The  smaller  towns  on  the  Ligurian 
coast  looked  up  to  Genoa  as  their  champion  against  the  Saracens,  who 
ravaged  the  country  from  Frassineto  (Fraxinet),  and  in  936  even  plundered 
Genoa  itself.  In  1119-33  the  Genoese  waged  war  with  varying  success 
against  Pisa,  which  threatened  its  maritime  commerce  from  the  settle- 
ments on  Corsica  and  Sardinia.  In  the  following  century  the  rival  cities 
were  almost  permanently  at  war  down  to  1284,  when  the  power  of  Pisa 
was  shattered  for  ever  in  the  terrible  naval  battle  at  Meloria  (p.  427).  At 
a  still  earlier  period  Genoa  had  participated  in  the  Crusades,  and  secured 
to  herself  a  busy  trade  with  the  Levant.  She  also  possessed  settlements 
at  Constantinople,  in  Syria  and  Cyprus,  at  Tunis  and  Majorca.  The  con- 
sequent rivalry  of  the  Genoese  and  Venetians  was  a  fruitful  source  of  wars 
and  feuds,  which  were  not  ended  until  the  defeat  of  Genoa  at  the  battle 
of  Chioggia  in  1380. 

The  internal  history  of  the  city  was  no  less  chequered  than  the  ex- 
ternal. The  party-conflicts  between  the  great  families  of  the  Doria, 
SpinoJa,  Adorni,  and  Fregosi  (Ghibellinea)  on  one  side,  and  the  Orimaldi, 
Fiesc/ii,  OuarcM,  and  Montaldi  (Guelphs)  on  the  other,  led  to  some  extra- 
ordinary results.  The  defeated  party  used,  at  the  expense  of  their  own 
independence,  to  invoke  the  aid  of  some  foreign  prince,  and  accordingly 
v/e  find  that  after  the  14th  cent,  the  kings  of  Naples  and  France,  the 
marquises  of  Montferrat,  and  the  dukes  of  Milan  were  alternately  masters 
of  Genoa.  Nor  was  this  state  of  atfairs  materially  altered  by  the  revolution 
of  1339,  by  which  the  exclusive  sway  of  the  nobility  was  overthrown, 
and  a  Doge,  elected  for  life,  invested  with  the  supreme  power.  In  the 
midst  of  all  this  confusion  the  only  stable  element  was  the  mercantile 
Banco  di  San  Giorgio,  which  had  acquired  extensive  possessions,  chietiy 
in  Corsica,  and  would,  perhaps,  have  eventually  absorbed  the  whole  of  the 
republic  and  converted  it  into  a  commercial  aristocracy,  had  not  Genoa 
lost  its  power  of  independent  development  by  becoming  involved  in  the 
wars  of  the  great  powers.  Andrea  Doria  (1468-1560;  p.  901,  the  admiral 
of  Emperor  Charles  V.,  at  length  restored  peace  by  the  establishment  of  a 
new  oligarchic  constitution  (16.28),  and  the  unsuccessful  conspiracy  of  Fiesco 
in  1547  was  one  of  the  last  instances  of  an  attempt  to  make  the  supreme 
power  dependent  on  unbridled  personal  ambition.  But  the  power  of  Genoa 
was  already  on  the  wane.  The  Turks  conquered  its  Oriental  possessions 
one  after  another,  and  the  city  was  subjected  to  severe  humiliations  by 
Louis  XIV.  of  France,  whose  fleet  under  Duqtiesne  bombarded  Genoa  in 
1684,  and  by  the  Imperial  troops  by  whom  the  city  was  occupied  for 
some  months  in  1746.  These  last  were  expelled  by  a  popular  rising, 
begun  by  a  stone  thrown  by  Balilla,  a  lad  of  15  years.  A  revolt  in  Corsica, 
which  began  in  1729,  was  suppressed  only  with  the  aid  of  the  Frencli,  who 


80    Route  18.  GKNOA.  a.  Harbour  and 

afterwards  (1768)  took  possession  of  the  island  on  their  own  behalf.  In 
1797  the  ariit  icratic  government  of  Genoa  was  superseded  by  (he  democratic 
'Ligurian  Republic'',  estaWishid  by  Napoleon.  In  1805  Uguria  was  formally 
annexed  to  the  Empire  of  France,  and  in  1815  to  the  Kingdom  of  Sardinia. 
To  the  student  of  art  Genoa  ofl'ers  much  of  interest.  Some  of  the 
.■Jmaller  churches  are  of  very  ancient  origin,  though  u^u.illy  altered  in  the 
(Jothic  |ieriod.  The  KeuHisaance  palaces  of  the  Gen  )ese  nublesse  are,  on 
the  other  hand,  of  (he  greatest  importance,  surpassing  in  number  and 
maguifuence  those  of  any  o'her  city  in  Italy.  Many  of  thtse  palaces  were 
erected  by  Caleazzo  Alessi  (1012-'(2;  a  pupil  of  Blichael  Angelo ,  born  at 
}'erugi<i),  whose  style  was  followed  by  subsequent  architects.  In  spite  of 
occasional  defects,  Alessi's  architecture  is  of  an  imposing  and  uniform 
character,  and  displays  great  ingenuity  in  making  the  best  of  unfavour- 
able and  limited  sites  The  palaces,  moreover,  contain  a  considerable 
number  of  works  of  art,  while  Rubens,  who  resided  at  Genoa  in  1606  S, 
and  Van  Dyck  at  a  later  period,  have  pre.'^erved  the  memory  of  many 
members  of  the  noblesse.  The  native  school  of  art,  however,  never  rose 
to  importance,  and  was  far  from  being  benefited  by  the  zeal  of  its  artists 
in  painting  facades.  The  chief  painters  were  Luca  Camhiato  (1527-85),  lier- 
nardo  Slrozzi,  surnamcd  II  Cappuccino  or  I'rete  Oenovese  (1581-1644),  Oiov. 
Salt.  Paggi  (1551-1627),  Benedetto  CmtigUone  (1616  70),  and  Bartolomeo  Bis- 
caino  (1632  57). 

a.  The  Harbour  and  the  Adjoining  Streets. 

Until  recently  the  harbour  consisted  solely  of  the  Porto  or  inner 
liarbour,  which  was  closed  on  the  S.  by  the  Molo  Vecddo  (492  yds. 
long),  said  to  have  been  constructed  in  1134,  and  by  the  Molo 
Nuovo  (722  yds.  long),  dating  from  the  18th  century.  In  1877-95, 
however,  very  extensive  additions  were  made,  largely  at  the  cost  of 
the  Duke  of  Galliera  (d.  1876).  The  Molo  Nuovo  was  prolonged 
to  the  S.E.  by  the  Alolo  Duca  di  Galliera  (about  1  M.  long),  and 
on  the  E.  side  a  new  breakwater,  the  Molo  Oiano  or  Orkntale 
(650  yds.  long),  was  added,  creating  a  new  harbour  (Porto  Nuovo) 
and  an  outer  basin  (Avamporlo  Viilorlo  Eman.  Secondo)  for  war- 
vessels  (comp.  thi  Map,  p.  94).  The  aggregate  wat^r-area  of  these 
different  basins  is  555  acres;  the  length  of  the  quays  (calate)  is  6  M. 
To  cope  with  the  rapidly  increasing  trade,  to  which  the  new  Sim- 
plon  Railway  (p.  3)  is  expected  to  contribute,  a  large  new  coal- 
harbour  (Bachto  Vitt.  Eman.  TerzoJ,  53  acres  in  area,  is  being 
constructed  between  the  Molo  Duoa  di  Galliera  and  the  Capo  del 
Faro  (p.  91).  —  In  1904  the  harbour  was  entered  and  cleared  by 
12,270  vessels,  with  an  aggregate  burden  of  over  12,000,000  tons. 
The  value  of  the  imports  (3,075,789  tons;  chiefly  cotton,  coal, 
and  grain)  was  639,000,000  fr.,  that  of  the  exports  (252,300  tons) 
was  411,000,000  fr. 

To  reach  the  harbour  from  the  railway-station,  we  traverse  the 
Piazza  Acquaverde  (PI.  C,  2;  p.  90)  and  descend  the  narrow  Via 
San  Giovanni  (PI.  B,  C,  2)  towards  the  S.  To  the  right,  at  the  comer 
of  the  Piazza  della  Commenda,  is  the  small  early-Gothic  church  of 
San  Giovanni  Battista  or  di  Pre  (13th  cent.),  which  originally  be- 
longed to  a  lodge  of  the  Knights  of  St.  John.  Since  a  reconstruction 
in  the  17th  cent,  tlie  entrance  has  been  at  the  E.  end. 


Adjoining  Streets.  GENOA.  18.  Route.     81 

The  busy  Via  Cahlo  Alkbkto  {VI.  C,  D,  2-4),  skirting  the 
Piazza  della  Commenda,  leads  to  the  W.  to  the  Dogana  (Pi.  B,  2),  or 
custom-house,  and  to  the  Ponte  Federico  Ouylielmo,  the  landing-place 
of  the  oceanic  steamers.  Farther  on  are  the  Palazzo  Doria  (p.  90) 
and  the  large  lighthouse  (p.  91).  To  the  E.  the  street  leads  past  tlie 
Magazzini  della  Ddrsena,  the  former  marine  arsenal,  the  old  Dar- 
sena  (PI.  C,  3),  or  war-harbour,  in  which  Fiesco  (p.  79)  was  drowned 
in  1547,  and  the  I'ortlcato  di  Sottorijxr  (V\.  I),  4),  with  arcades 
restored  In  the  Gothic  style  in  1900,  to  the  Piazza  Caeicambnto 
(PI.  D,  4,  5),  in  which  a  bronze  statue,  by  Rivalta,  was  erected  in 
1893  to  liaffaele  Rubatlino  (1809-72),  the  Genoese  steamship- 
owner.  On  the  S.  side  of  the  square  is  the  Gothic  Palazzo  di  San 
Giorgio,  erected  about  12G0,  enlarged  in  the  14th  cent,  and  in 
1571,  and  from  1408  to  1797  occupied  by  the  Banca  di  San  Giorgio 
(p.  79).  Partially  restored  by  lyAndrade,  it  is  now  the  seat  of  the 
Harbour  Commission  (Consorzio  dell'  Autonomia  del  Porto).  The 
large  hall  is  embellished  with  21  marble  statues  of  men  who  have 
deserved  well  of  the  city,  partly  of  the  15-16th  century.  —  Beside 
the  Piazza  llaibetta  (PL  D,  5),  farther  on,  is  the  Porto  or  Deposito 
Franco,  the  free  harbour,  with  extensive  bonded  warehouses  (visi- 
tors admitted ;   no  smoking). 

The  broad  Via  Vittoeio  Emanuelb  (PL  D,  6),  skirting  the  E. 
side  of  the  free  harbour,  leads  to  the  S.W.  to  the  Piazza  Cavour 
(PL  D,  6),  to  the  S.  of  which  begins  the  Via  di  Circonvallazione  a 
Mare  (p.  9'2).  To  the  W.  is  the  Molo  Vecchio,  with  the  Porta  del 
MolotV\.  C,  5),  a  gateway  built  in  1550  by  Gal.  Alessi,  and  the 
new  Magazzini  Generali.  —  The  Via  San  Lorenzo  ascends  from  the 
Via  Vittorio  Einanuele  to  the  cathedral,  see  p.  83. 

A  Row  IN  THE  Harbour  (2  fr.  per  hour  for  1-4  pers. ;  bargain  before- 
hand) is  very  attractive  wlien  the  sky  is  clear  and  the  sea  calm.  We  first 
proceed  to  the  end  of  the  Molo  Vecchio,  on  which  stands  a  small  Female 
or  li'2hthouse  (PI.  A,  5;  no  admission).  Thence  we  cross  to  the  Bacini 
di  Carenaggio  (PI.  C,  D,  7,  8),  large  dry  docks  constructed  in  1893-95. 
After  seeing  these,  we  row  past  the  end  of  the  Molo  Giano  (lighthouse; 
PI.  C,  8)  to  the  Molo  Duca  di  Galliera,  which  commands  a  fine  view  of  the  city 
and  mountains.  Hence  we  return  on  foot,  passing  the  Quarantine  Station, 
and  traverse  the  Molo  Nuovo  to  the  large  lighthouse  (p.  91),  which  may  now 
l)e  visited.    Then  by  electric  tramway  (No.  13)  to  the  Darsena  (see  above). 

The  following  route  avoids  the  noisy  and  crowded  streets  near 
the  harbour.  From  the  S.E.  end  of  the  Darsena  (PL  C,  3),  whence 
the  Via  delle  Fontane  leads  to  the  left  to  the  Piazza  dell' Annunziata 
(p.  88),  we  pass  through  the  Gothic  Porta  dei  Vacca,  erected  on  the 
site  of  the  N.W.  town-gate  of  1159  and  adorned  with  mediaeval 
sculptures  and  towers,  to  the  Via  del  Campo  (PL  D,  4)  and  the 
Piazza  Fossateli-o  (PL  D,  4).  From  this  piazza  the  Via  Lomellini, 
with  the  Palazzo  Centurione  (No.  1),  by  Alessi (?),  and  the  house 
in  which  Mazzini  (p.  74)  was  born  (No.  33),  leads  to  the  left  to  the 
Piazza  dell'  Annunziata. 

In  the  small  Piazza  San  Siro,  a  few  paces  to  the  E.  from  the 
Bakukkku.    Italy  I.    13tli  Edit.  G 


82     Route  18.  GENOA.  a.  Harbour  and 

Piazza  Fossatello,  is  tlie  old  cathedral  of  San  Siro  (PI.  D,  E,  4), 
rebuilt  about  1576,  with  a  facade  of  1830,  containing  frescoes  by 
Oiov.  Batt.  Carlone. 

Then  through  the  Via  di  San  Luca  to  the  Piazza  Banchi,  with 
the  Exchange  [Loggia  dc'  Banchi,  Borsa ;  PI.  D,  5  ;  business-hours, 
11-3).  —  From  the  S.  corner  of  the  Exchange,  the  narrow  Via 
Okefici  (PL  D,  E,  5),  with  numerous  goldsmiths'  shops  (a  door 
on  the  right  is  adorjicd  with  an  Adoration  of  the  Magi  in  relief, 
15th  cent.),  and  then  the  Piazza  Soziglia  (PI.  E,  5)  and  the  Via 
TmccoU,  lead  to  the  Piazza  delle  Fontane  Marose  (p.  85). 

To  the  N.  of  the  Piazza  Soziglia  is  the  church  of  Santa  Maria  (Telle 
Vigne  (PI.  E,  5),  with  three  Gothic  figures  above  the  side-portal  on  the 
right,  and  a  tower  of  the  13th  century.  The  fine  interior  was  restored  in 
the  late-Renaissance  style  in  1586;  in  the  chapel  to  the  left  of  the  choir  is  a 
wooden  crucifix  with  painted  statues  of  the  Virgin  and  St.  John,  hy 
Maragliano.  The  church  is  adjoined  by  a  ruined  cloister  of  the  11th  century. 
—  On  the  S.  side  of  the  Piazza  Soziglia  (Piazza  Campetfo,  No.  8)  is  the 
handsome  Palazzo  Imperiali,  by  G.  B.  Castello  (1560). 

From  the  Exchange  the  Via  San  Pietro  della  Porta,  passing  the 
former  church  of  San  Pietro  de'  Banchi  (1583),  with  its  high  flight 
of  steps,  leads  to  the  S.  to  the  Via  San  Lorenzo  (see  p.  83). 

The  steep  streets  to  tlie  S.  of  the  Via  Vitt.  Emanuele  (p.  81)  and 
the  Via  San  Lorenzo,  iii  the  oldest  and  most  unsavoury  part  of  Ge- 
noa, contain  several  churches  of  considerable  artistic  interest.  The 
Via  San  Giorgio,  a  side-street  of  the  Via  Vitt.  Emanuele,  and  the 
continuation  of  the  above-mentioned  Via  San  Pietro  della  Porta, 
both  lead  to  the  Piazza  San  Giorgio  (PL  D,  6),  on  the  S.E.  side  of 
which  stands  the  church  of  San  Giorgio,  a  baroque  structure  with  a 
dome,  containing  a  Pieta  by  the  Spanish  master,  Sanchez  Goello 
(1st  chapel  to  the  left  of  the  choir),  and  three  paintings  by  Luca 
Cambiaso.  Adjoining  it  on  the  left  is  the  charming  little  church 
of  San  Torpete,  by  Ant.  Rocca  (1631). 

A  few  yards  to  the  S.W.  of  the  latter  is  the  Piazza  GmiiLO  Gat- 
TANEo,  named  after  the  Palazzo  Cattaneo,  which  has  a  tasteful  Re- 
naissance portal  (1504)  by  Tamagnino  and  others.  At  the  adjacent 
shop.  Via  San  Bernardo  8,  is  another  elegant  Renaissance  portal. 

From  the  Piazza  Grillo  Cattaneo  we  proceed  to  the  S.W.  by  the 
Vico  dietro  il  coro  di  San  Cosimo  and  then  by  an  archway  on  the 
light,  and  reach  the  Romanesque  church  of  Santi  Cosma  e  Damiano 
(12th  cent.?),  which  contains  a  Madonna  of  the  14th  cent,  (left  of 
the  high-altar).  —  From  the  end  of  the  last-named  Vico  the  Salita 
di  Santa  Maria  di  Castello  ascends  to  the  left  to  the  church  of  Santa 
Maria  di  Castello  (PL  D,  6),  a  Romanesque  building  (perhaps  of 
the  11th  cent.),  on  the  site  of  the  Roman  castle.  Above  the  portal 
is  an  ancient  architrave ;  ten  of  the  shafts  of  the  columns  in  the 
freely  modernized  interior  are  also  ancient.  In  the  first  chapel  on 
the  left  is  a  Roman  sarcophagus,  used  as  an  altar;  in  the  second 
chapel  on  the  right  is  a  Coronation  of  the  Virgin  by  Lod.  Brea;  and 
the  third  has  tasteful  Renaissance  decorations  (tiles)  and  an  altar- 


Adjoining  Streets.  GENOA.  IS.  Route.     83 

piece  by  Sacchi  (15'26).  The  choir  was  added  in  the  16th  century. 
In  the  cloisters  are  ceiling-frescoes  of  Sibyls  and  Prophets  and  a 
Madonna  by  Jusius  de  Allamagna  (1451 ;  under  glass). 

To  the  N.E.  is  the  little  Piazza  Embriaci  (PL  D,  6),  with  the 
ruined  Torre  Ernhriaci,  the  solitary  relic  of  a  patrician  castle  of  the 
r2th  cent.,  whence  the  Vico  dei  Giustiniani  returns  to  the  Via  San 
Bernardo  (p.  82).  From  the  S.E.  end  of  this  street  the  Via  San 
Donate  leads  to  the  right  to  the  piazza  and  church  of  San  Donate 
(PI.  E,  6),  the  latter  a  Romanesque  structure  of  the  12th  cent,  (re- 
stored in  1000).  The  architrave  and  columns  of  the  entrance  show 
an  arohaistic  tendency  like  those  of  the  cathedral.  In  the  interior 
are  some  antique  columns  and  (1st  altar  on  the  left)  a  fine  Adoration 
of  the  Magi,  by  the  Master  of  the  Death  of  the  Virgin  (covered). 

We  may  proceed  hence  either  via  the  Salita  Pollaiuoli  to  the  N.Pj. 
to  the  Piazza  Umberto  Primo  (p.  84)  or  via  the  Vico  di  San  Donate 
and  the  Vico  del  Ficn  to  the  E.  to  the  Piano  di  Sant'  Andrea,  and 
thence  pass  under  the  Gothic  Porta  Soprana  and  descend  the  Vico 
Dritto  di  Ponticello  to  the  Piazza  Ponticello  and  the  Via  Venti  Set- 
tembre  (p.  85).  No.  37,  on  the  left  side  of  the  Vico  Dritto  di  Ponti- 
cello, is  the  small  Ancestral  House  of  Columbus  (PI.  E,  6;  p.  90). 


b.  From  the  Harbour  through  the  Via  San  Lorenzo  to  the  Piazza 
Umberto  Primo  and  the  Piazza  Deferrari. 

Near  the  beginning  of  the  Via  Vitt.  Emanuele  (p.  81)  is  the 
busy  Via  San  Lorenzo,  running  towards  the  S.E.  It  contains  the 
cathedral  of  — 

^  *San  Lorenzo  (PI.  E,  6, 6),  founded  in  986,  re-erected  about  1100 
in  the  Romanesque  style,  restored  in  the  Gothic  style  iu  1307,  and 
provided  with  a  Renaissance  dome  hy  Oaleazzo  Alessi  in  1567.  The 
choir  was  modernized  in  1617,  and  a  harmonious  restoration  of  the 
interior  was  carried  out  since  1896.  The  lower  part  of  the  facade, 
which  consists  of  alternate  courses  of  black  and  white  marble,  was  con- 
structed in  imitation  of  the  French  Gothic  churches ;  the  two  lower 
of  the  recumbent  lions  which  adorn  it  on  the  right  and  left  of  the 
steps  are  modern.  Only  one  of  the  towers  is  completed.  The  sculp- 
tures of  the  principal  portal  date  from  the  end  of  the  13th  century. 
The  Romanesque  entrances  to  the  aisles  are  richly  decorated  with 
sculptures  of  the  12-14th  cent,  (on  the  N.  portal,  a  carver's  inscrip- 
tion of  1342)  and  with  archaistic  ornamentation  on  the  entablature 
and  capitals.  A  small  Gothic  oriel  of  1402,  formerly  belonging  to 
the  Hospital  of  St.  John,  has  been  built  into  the  right  aisle. 

The  Intekior,  to  which  the  massive  substructure  of  the  towers  forms 
a  kind  of  atrium,  still  retains  16  Corinthian  columns  from  the  original 
Romanesqae  buildinii.  The  upper  series  of  columns  alternating  with  piers, 
and  also  the  whole  of  the  vaulting,  belong  to  the  building  of  1307.  On 
the  right,  over  the  second  side-portal,  is  the  monument  (restored  in  1905) 
of  Cardinal  Luca  Ficschi  (d.  1336).   —  In  the   chapel   to   the  right  of  the 

6* 


84     Route,  18.  GENOA.  h.  From  the  Harbour 

choir,  a  *Crucifixion  with  sainta  and  angels  (covered),  the  masterpiece  of 
Fed.  Baroccio.  In  the  choir,  handsome  stalls  with  inlaid  work  hy  t'rdnc. 
de'  ZaiahelU  and  others  (1514-46).  In  the  chapel  to  the  left  of  the  choir, 
.<!ix  pictures  and  a  statue  of  Fides  by  Luca  Cambiaso.  —  In  the  first  chapel 
in  the  left  aisle  are  seven  statues  by  Qugl.  delta  Porta.  The  second  chapel 
(women  not  admitted),  that  of 'San  Giovanni  Battista,  erected  in  1448-96, 
contains  a  stone  area  of  the  loth  cent,  (below  the  altar)  with  relics  of  John 
the  Baptist.  The  six  statues  at  the  sides  art^  by  Malteo  Civitali  (p.  443); 
the  Madonna  and  John  the  Baptist  by  Andrea  Sansovino  (1503);  the  canopy 
and  the  other  sculptures  by  Giacomo  and  Guglielmo  delta  Porta  (1532).  The 
external  decoration  of  the  chapel,  with  admirable  reliefs  above  (best  light 
in  the  afternoon),  was  executed  by  t)ie  T;nmbardic  masters,  Dam.  and  Elia 
Oagini  and  Giov.  da  Dissone  (1448-50). 

In  the  sacristy  is  the  Cathedkal  Treasury  (adm.,  p.  78;  entrance, 
Via  deir  Arcivcscovado  21).  Among  the  relics  here  are  a  silver  .shrine 
for  the  Procession  of  Corpus  Domini,  executi-d  in  1563-1611  by  Franc. 
Rocchi  of  Milan  and  other  artists:  and  (to  tlie  left)  a  13th  cent,  cross  from 
Kphesus,  captured  at  Phocaeain  1308.  To  the  right  is  the  Sacro  Catino,  the 
vessel  out  of  which  the  Saviour  and  his  disciples  are  said  to  have  partaken 
of  the  paschal  lamb,  or  that  in  which  Joseph  of  Arimathea  caught  some 
drops  of  the  blood  of  the  Crucified  (an  ancient  Oriental  glass  vessel,  cap- 
tured by  the  Genoese  at  Cesarea  in  1101  and  supposed  to  be  made  of  a 
large  emerald,  until  it  was  broken  at  Paris,  whither  it  had  been  carried 
by  Napoleon  I.).  The  setting  dates  from  1827.  Beneath  is  a  silver  altar- 
front  by  the  German  goldsmith  Melchior  Siiss  (1599);  opposite  is  a  silver 
shrine  for  the  procession  on  Ash  Wednesday,  by  Teramo  di  Daniele  (1437). 
On  the  third  wall  are  two  choir  vestments  (15th  and  16th  cent.)  and  costly 
vessels. 

To  the  left  of  the  cathedral  are  Romanesque  cloisters  (I'ith 
cent.).  —  Opposite,  Via  dell'  Arcivescovado  14,  are  the  Stale  Archives. 

Farther  on  the  Via  San  Lorenzo  leads  to  the  Piazza  Umbebto 
Primo  and  to  Sant'  Ambrogio  (PI.  E,  6),  a  church  of  the  Jesuits, 
profusely  decorated  (1589). 

Interior.  3rd  Altar  on  the  right :  Assumption  by  Guide  Reni  (restored 
in  1898;  covered).  High-altarpiece ,  Presentation  in  the  Temple,  by  Rubens 
(an  early  work  of  about  1605).  The  four  black  monolithic  columns  are 
from  Porto  Venere  (p.  118).  Third  Altar  on  the  left:  "Rubens,  St.  Ignatius 
healing  the  sick  (ca.  1620,  restored  in  1896;  covered). 

The  house  Vico  dei  Notari  No.  1,  to  the  right  of  the  church,  has 
a  fine  Renaissance  portal. 
]  ^  On  the  N,  side  of  the  Piazza  Umberto  Primo  rises  the  Palazzo 
'^  Ducale  (PI.  E,  6),  the  grand  old  residence  of  the  doges,  originally  a 
building  of  the  l3th  cent.,  to  which  the  tower  on  the  left  (Torre  del 
Popolo)  belonged,  but  completely  remodelled  by  Rocco  Pennone  in 
the  i6th  cent,  (fine  *  Staircase),  and  modernised  after  a  fire  in  1777. 
Facade  by  Sirnone  Cantoni.  It  now  contains  the  telegraph-office  and 
other  government-offices. 

From  the  Piazza  Umberto  Primo  the  short  Via  Sellai  leads  to  the 
left  to  the  busy  and  recently  enlarged  but  still  unfinished  Piazza 
Deferbari  (PI.  E,  F,  5,  6;  78ft.  above  the  sea;  starting-point  of 
most  of  the  electric  tramways,  p.  76),  which  is  embellished  veith  a 
large  Equestrian  Statue  of  Oaribaldi,  by  Aug.  Rivalta,  unveiled  in 
1893.  —  On  the  N.W.  side  of  the  piazza  stands  the  Palazzo  Deferrari 
(18th  cent.).  Opposite  are  the  Teatro  Carlo  Felice  (PI.  E,  F,  5;  see 
p.  77)  and  the  Accademia  di  Belle  Arti  (PI.  E,  F,  6),  on  the  first  floor 


to  the  Piazza  Deferrari.       GENOA.  18.  Route.     85 

of  which  is  the  Biblioteca  Civicn ;  on  the  second  floor  is  the  *Museo 
Chiossone  fadm.  see  p.  78),  opened  in  1905,  with  a  valuable  col- 
loctioii  of  Japanese  and  Chinese  antiquities  (ll-19th  cent.).  On 
the  ]•].  side  of  the  piazza  the  new  buildings  of  the  Exchange  and 
tl^c  Post  OfQoe  nre  under  constru'tion. 

The  Via  Vknti  Skttemhre  (PI.  F-H,  6,  7),  a  handsome  street 
laid  out  in  1887-1905,  flanked  with  arcades  containing  shops,  leads 
from  the  Academy  to  the  S.E.  to  the  new  Ponte  Monurnentale  fp.  92) 
and  thence,  passing  the  Mercato  Orientate  (market),  to  the  Ponte 
Pila  (PI.  H,  1,  7;  p.  92),  the  central  one  of  the  three  bridges  over 
the  Bisagno.  Before  reaching  the  viaduct  we  may  ascend  to  the 
right  across  the  Piazza  Ponticello  (p.  83)  and  tlirough  the  Via  Fie.'chi 
to  the  church  of  Santa  Maria  di  Carignano  (p.  92). 

The  Salita  San  Mattco  leads  to  the  left  from  the  Piazza  Deferrari  to 
the  small  Gothic  church  of  San  Matteo  (PI.  E,  5;  1278),  containing  many 
memorials  of  the  Doria  family,  the  facade  being  covered  with  inscriptions 
in  their  honour.  To  the  right,  below  an  ancient  sarcophagus-relief,  is  an 
inscription  in  honour  of  Lamba  Doria .  who  defeated  the  Venetians  at 
Curzola  in  1297.  The  interior  was  altered  in  1530,  with  the  assistance  of 
Giov.  Butt.  Castello,  by  the  Florentine  Moiitorsoli,  who  was  invited  to  Genoa 
by  Andrea  Doria,  and  executed  the  whole  of  the  sculptures  which  adorn 
the  church.  The  balustrade  of  the  organ-loft  is  particularly  fine.  Above 
the  high-altar  is  Andrea  Doria's  sword,  and  his  tomb  is  in  the  chapel  below. 
To  the  left  of  the  church  are  handsome  cloisters  with  double  columns  in 
the  early-Gothic  style  (1308-10),  with  ancient  inscriptions  relating  to  the 
Dorias,  and  remains  of  Montorsoli's  statue  of  Andrea  Doria,  which  was 
mutilated  during  the  Revolution  in  1797.  —  The  little  piazza  in  front  of 
the  church  is  surrounded  with  Palaces  of  the  Doria  Family,  some  with  their 
lower  halves  covered  with  black  and  yellow  marble.  The  palazzo  (No.  17) 
at  the  corner  of  the  Salita  alio  Arcivescovado  bears,  above  its  elegant 
early -Renaissance  portal,  the  inscription,  ^Senai.  Cons.  Andreae  de  Oria, 
patriae  liberatori  miintis  publicum'' . 

c.  From  the  Piazza  Deferrari  to  the  West  Sailway  Station  and 
the  Lighthouse. 

From  the  Piazza  Deferrari  two  broad  streets  lead  to  the  N.E.: 
to  the  right  the  Via  Koma  (p.  91),  to  the  left  the  short  Via  Carlo 
Felice  ( PL  E,  F,  5).  The  latter  leads  past  the  Palazzo  Pallavicini 
(No.  12;  now  the  Pal.  Duraz^o^  to  the  Piazza  delle  Fontanb 
Mahosb  (pi.  F,  4,  5).  No.  17  in  this  piazza  is  the  Pal.  della  Cam 
(15th  cent.,  but  restored  in  the  17th),  adorned  with  five  ancient 
honorary  statues  in  niches;  No.  27  is  the  Pal.  Lod.  Stefano  Palla- 
vicini, with  a  painted  faijade,  sumptuously  fitted  up  in  modern  taste. 

At  the  Piazza  delle  Fontane  Marose  begins  a  handsome  line  of 
streets  laid  out  since  the  i6th  cent.,  extending  to  the  Piazza  Acqua- 
verde  (p.  90),  under  the  names  of  Via  Oaribaldi  (formerly  Nuova\  Via 
Cair6li  (formerly  Nuovissima'),  and  Via  Balhi.  In  these  streets,  which 
form  one  of  the  chief  arteries  of  traffic,  are  the  most  important 
palaces  and  several  churches.  Some  of  the  former  should  be  visited 
for  the  sake  of  their  noble  staircases,  one  of  the  sights  of  Genoa. 

The  first  of  these  main  streets,    the   narrow  *Via  Gakibaldi 


86     Route  18.  GENOA,     c.  From  the  Piazta  Deferrari 

(PI.  E,  4),  is  flanked  with  a  succession  of  palaces.  On  the  right, 
No.  1,  Palazzo  Vambiaso,  by  Gal.  Alessi.  On  the  left,  No.  2,  I'aL. 
Oambaro,  formerly  Cambiaso.  Right,  No.  3,  Pal.  Parodi,  erected  in 
1567-81  by  Gal.  Alessi.  Left,  No.  4,  Pal.  Cataldi,  formerly  Carega, 
erected  about  1560  by  Giov.  Batt.  Castello.  Right,  No.  5,  Pal. 
Spinola,  by  Gal.  Alessi,  now  a  commercial  school  (the  courts  of  the 
two  last-named  are  adorned  witli  frescoes).  Left,  No.  6,  Pal.  Giorgio 
Doria  (not  always  open),  by  Alessi,  adorned  with  frescoes  by  Luca 
Cambiaso  and  other  pictures  (Castiglione,  Shepherd  and  shepherdess; 
Van  Dyck,  Portrait  of  a  lady ;  P.  Veronese,  Susanna). 

Left,  No.  10,  Pal.  Auorno  (accessible  by  introduction  only),  also 
by  Oal.  Alessi.  contains  several  good  pictures :  Rubens,  Hercules 
and  Dejanira  (both  much  restored);  three  small  pictures  attributed 
to  Mantegna,  though  more  in  the  style  of  S.  Botticelli  (Triumph  of 
Amor,  of  Jugurtha,  of  Judith;  comp.  p.  34,  No.  106);  Cambiaso, 
Madonna  and  saints ;  Corneille  de  Lyon  (not  J.  Clouet),  Portraits  of 
four  children;  PeUegro  Piola,  Frieze  with  children;  Perin  del  Vagn, 
Nativity  of  Mary. 

Left,  No.  12,  Pal.  Serra  (no  admission),  by  G.  Alessi;  interior 
rebuilt  by  Charles  de  Wailly  (d.  1798)  and  Tagliafico,  with  a 
magnificent  rococo  hall. 

Right,  No.  9,  Palazzo  Municipale  (PI.  E,  4),  formerly  Doria 
Tursi,  by  Rocco  Lurago  (d.  ca.  1590),  with  a  handsome  staircase  and 
court,  skilfully  adapted  to  its  sloping  site. 

The  Vestibule  i.t  adorned  with  frescoes  from  the  life  of  the  Doge 
Grimaldi  and  the  Staikoase  in  the  court  with  a  statue  of  Cattaneo  Pinelli. 
—  In  the  large  Council  Chamber  on  the  upper  floor  are  mosaic  portraits 
(by  Salviati;  1867)  of  Columbus  and  Marco  Polo.  In  the  adjacent  room 
are  facsimiles  of  letters  of  Columbus  (the  originals  are  in  the  pedestal  of 
his  bust  in  the  Sala  della  Giunta) ;  large  bronze  tablet  of  B.  C.  117,  record- 
ing the  judgment  of  Roman  arbiters  in  a  dispute  between  Genoa  and  a 
castle  in  the  Val  Polcevera.  A  recess  in  the  wall  to  the  left  contains 
Paganini's  violin  (a  'Guarneri'). 

Left,  No.  18,  Palazzo  Bosso  (PI.  E,  4),  by  Alessi  (?),  so  named 
from  its  red  colour,  formerly  the  property  of  the  Brignole-Sale 
family,  was  presented  to  the  city  of  Genoa  in  1874,  along  with  its 
valuable  contents,  library,  and  ^Picture  Gallery  (^Oalleria  Brignole- 
Sale  Deferrari;  adm.,  see  p.  78;  lists  of  pictures  in  each  room),  by 
the  Marchesa  Maria  Brignole-Sale,  Duchess  of  Galliera  (d.  1889). 

Ascending  the  staircase  to  the  third  story,  we  pass  to  the  right  into 
the  Stanza  delle  Aeti  Liberali  (R.  I),  named,  like  the  following  rooms, 
after  the  ceiling-paintings  (by  Carlone,  Parodi,  Deferrari,  Piola,  and  others), 
and  containing  three  portraits  of  Doges  of  the  Brignole  family  (17-18th 
cent.).  The  ceiling-paintings  are  sometimes  continued  by  the  relief-work 
of  the  cornices.  —  To  the  right,  the  Alcova  (R.  II):  Rigaud,  Lady  and 
gentleman  of  the  Brignole  family;  Picasso,  Portrait  of  the  Duchess  of 
Galliera.  —  III.  Stanza  hella  Gioventu.  On  the  exit- wall:  Guercino, 
Cleopatra;  B.  Strozzi,  Hi  C'appuccino\  Caritas  or  maternal  love  (after  Cam- 
biaso); B.  Strozzi^  Cook  with  poultry.  —  IV.  Sala  Grande,  with  ceiling 
decorated  with  the  armorial  bearings  of  the  family.  Exit-wall:  Ouidobono 
da  Savona,  Lot  and  his  daughters.  Entrance-vfall :  D.  Piola,  Sun-chariot  of 
Apollo. — V.  Stanza  della  Pkimavera  :  Paris  Bordone,  Venetian  woman; 


to  the  West  Station.  GENOA.  75.  Route.    87 

Moretto,  Physician  (1533);  Van  Dt/ck,  'Marchese  Antonio  Giulio  Brlgnole- 
Sale  on  horseback  (restored  in  1903);  A.  DUrtr,  Portrait  (1506;  mined); 
Titian  (school-piece),  Philip  II.  of  Spain.  On  the  exit- wall:  Van  Dyck,  Por- 
trait of  father  and  son.  Entrance-wall :  Van  Dyck,  Marchesa  Paola  Brignole- 
Sale  (ruined),  Bearing  of  the  Cross  (early  work);  Jac.  Bassano,  Portrait  of 
father  and  son ;  Paris  Bordone,  'Portrait.  —  VI.  Stanza  dell'  Estate  : 
Ouermio,  Suicide  of  Cato ;  Lvca  Oiordano,  Clorinda  liberating  Olintho  and 
Sophronia  (from  Tasso) ;  Guercino,  Christ  driving  out  the  money-changers  ; 
B.  Strotzi,  Incredulity  of  Thomas;  Cai'avaggio,  Raising  of  Lazarus.  On 
the  window-wall  is  a  large  mirror,  with  a  majtnificent  baroque  frame  by 
Fit.  Parodi.  —  VII.  Stanza  DELL'AnTUNNo :  Guercino,  Holy  Family  with 
SS.  John  the  Evangelist  and  Bartholomew.  —  VIII.  Stanza  dell' Inverno. 
To  the  left,  Paolo  Veronese,  Judith  and  Holofernes.  Entrance-wall :  Pel- 
legrino  Piola,  Holy  Family;  Mnrillo,  Holy  Family  (early  work);  Abraham 
Tenters,  Two  genre-pictures ;  Paris  liordone.  Holy  Family  with  SS.  Jerome 
and  Catharine  (one  of  the  master's  chief  works,  but  much  injured).  — 
IX.  Stanza  della  Vita  dell'  Uomo  ;  Van  Dyck,  Portrait.  Entrance-wall : 
Van  Dyck,  Marchesa  Geronima  Brignole-Sale,  with  her  daughter  (retouched 
throughout). 

No.  13,  nearly  opposite  Pal.  Rosso,  and  named  'wLite'  by  way  of 
contrast,  is  the  Palazzo  Bianco  (PI.  E,  4),  erected  in  1565-69,  also 
for  a  long  period  tlie  property  of  the  Brignole-Sale  family,  hnt  be- 
queathed in  1889  with  numerous  works  of  art  to  the  city  by  the 
Duchess  of  Galliera  (see  p.  86),  and  since  1893  converted  into  a 
museum  known  like  the  other  as  the  *Oalleria  Brignole-Sale  Defer- 
rnri  (adm.,  see  p.  78;  lists  in  each  room). 

Vestibule.  On  the  walls  are  numerous  inscriptions  and  sculptures, 
including  the  remains  of  Genoese  sepulchral  monuments. 

Entresol.  —  Room  I  (left);  137.  Genoa  with  the  walls  of  1159,  a  large 
painting;  139.  View  of  Genoa  harbour  in  1319;  110.  View  of  Genoa  in  1410 
(a  copy,  dating  from  1597);  105.  Large  relief-plan  of  Genoa  (1898) ;  126,138. 
Scenes  in  the  Genoese  rising  against  Austria  in  1746;  154.  Part  of  the 
harbour  chain  of  Pisa,  captured  in  1290;  church-bell  of  1292;  old  cannon 
found  in  the  harbour  in  1890;  national  relics.  —  Room  II:  1.  View  of 
Corsica,  Genoa,  and  the  Riviera  di  Levante  in  164S;  4.  Plan  of  Genoa  in 
1656;  3.  Banner  of  the  'Thousand  of  Marsala'.  The  glass-cases  contain 
Genoese  coins  and  medals;  two  letters  of  Andrea  Doria;  letters  of  Gari- 
baldi ;  a  crystal  urn  enclosing  a  small  part  of  the  ashes  of  Columbus,  dis- 
covered in  1877  in  the  Cathedral  of  Santo  Domingo ;  facsimiles  of  two 
letters  of  Columbus.  —  We  return  to  the  staircase,  with  the  continuation 
of  the  collection  of  sculpture.  On  the  second  landing  is  (No.  ''479)  a  frag- 
ment of  the  tomb  of  the  consort  of  Emp.  Henry  VII.,  by  GioiK  Pisano. 

Seoond  Floor.  —  The  Ante-Room  contains  sculptures:  1.  Head  of  Janus 
from  San  Lorenzo  (10th  cent.);  6.  Giov.  della  Robbia,  Terracotta  altar,  with 
the  Coronation  of  the  Virgin  (from  Spezia) ;  7.  Bacchic  procession,  a  Roman 
sarcophagus-relief  from  the  tomb  of  Franc.  Spi'nola  in  Gaeta. 

Room  I.  Models  of  the  caravels  of  Columbus  (1892) ;  two  globes,  by 
Padre  Coronelli  (lb88);  large  Chinese  vases. 

R.  II.  7.  Byzantine  pallium,  with  legends  of  the  saints  (13th  cent.); 
Flemish  tapestry ;  Japanese  vases. 

R.  III.  Paintings  of  the  Flemish  school.  To  the  left,  '7.  Rubens,  Lovers 
(1618);  *13.  Gerard  David  {not  Flor is).  Madonna,  with  SS.  Jerome  and  Nich- 
olas of  Tolentino;  20.  Adr.  Itenbraiil  (nni  Jfemliny),  Madonna;  21.  G.  Damd, 
Crucili.xion  (school-piece);  28.  J.  van  Rut/sdael,  Landscape;  *32.  Jan  Sieen, 
Rustic  wedding;  no  number.  Van  Dyck,  Christ  and  the  Pharisees;  ''34.  Teniers 
the  Younger,  Guard -room.  On  the  entrance-wall:  Franc,  di  San  Giorgio, 
Bronze  bust  of  Giov.  Gioviano  Pontano.  In  the  middle:  Penitent  Magdalen, 
by  Canova  (1796). 

R.  IV.  Spanish  and  French  paintings.  To  the  left,  5.  Murillo,  St.  Francis 
in  ecstasy;  10,  12.  Zurbaran,  SS.  Ursula  and  Euphemia;  17.  L.  David,  Por- 


OO     Route  7.S.  GENOA.  c.  Via  Oaribaldi, 

trait;  19.  Murillo,  Flight  into  Egypt  (school-piece);  4.  Velazquez,  Philip  IV. 
{school-piece).  —  In  the  middle:  Jenuer  vaccinating  a  child,  marble  group 
by  O.  Monteverde  (187-i). 

R.  V.  Italian  paintings.  To  the  left,  10.  i'aoZo  F'«'o?ieje(V),  Boy  praying; 
7.  Guercino,  God  the  Father;  22.  Foiitormo^  Portrait;  2G.  Filippino  Lippi, 
Madonna  and  angels,  with  SS.  Francis,  Sebastian,  and  .lohn  the  Baptist 
(1503) ;  32.  Palma  Vecchio,  Madonna,  with  the  Magdalen  and  the  Baptist 
(original  in  Bergamo);   37.   Correggio,  Madonna  adoring  the  child  (copy). 

R.  VI  and  Gallery  1.  Paintings  of  the  Genoese  school  and  drawings. 
In  the  gallery,  6.  L.  Cambiaso,  Diana  and  Callisto.  —  R.  VII.  Genoese  fres- 
coes.    The  cases  cnntain  antii|ue  vases. 

R.  VIII.  Italian  paintings  of  various  schools.  In  the  middle,  a  bridal 
bed  (if  the  Brignole  family  (ISth  cent.).  —  Gallery  II.  Venetian  lace,  ec- 
clesiastical vestments  (17th  cent.),  small  sculptures,  etc. 

R.  IX.  Modern  paintings.  In  the  cases  are  antique  lamps,  vases,  glass, 
and  coins.  —  R.  X.  Majolica  from  Savona  and  elsewhere.  Collection  of 
porcelain. 

Crossing  the  small  Piazza  della  Meridiana  to  the  N.W.,  we  enter 
the  Via  Caikoli  (PI.  E,  D,  4).  At  the  end  of  this  street,  No.  18,  on 
the  left,  is  the  Palazzo  Balbi  [by  Gregorio  Petondi,  18th  century), 
through  which  a  fine  view  is  obtained  of  the  lower-lying  Via  Lo- 
mellini  (p.  81).  —  We  then  cross  the  Piazza  della  Zecca  (PI.  D,  3), 
with  the  station  of  the  Cable  Tramivay  to  the  Via  di  Circonvallazione 
a  Monte  (p.  92)  and  Castellaccio  (p.  93),  and  reach  the  Via  alia 
Nunziata.  No.  15  in  this  street  (on  the  right)  is  the  Palazzo  Cat- 
taneo  della  Volta  (not  always  open),  containing  on  the  flrst  floor 
eleven  partly  injured  portraits  by  Van  Dyck,  the  best  of  which  is 
that  of  a  lady  with  a  negro  holding  up  a  red  parasol. 

In  the  neighbouring  Piazza  dell' Annunzi.\ta  (PI.  D,  3 )  rises  the 
former  Capuchin  church  of  *Saiitissima  Annunziata  del  Vastato, 
erected  by  Oiac.  della  Porta  in  1587.  The  portal  is  borne  by  marble 
columns ;  brick  facade  otherwise  unfinished.  This  sumptuous  church 
is  a  well-proportioned  basilica  with  a  dome;  the  interior  was  adorned 
in  the  17th  cent,  with  gilding  and  with  frescoes  by  the  Carlone  and 
other  artists. 

In  the  left  transept  the  altar-piece  is  a  coloured  wooden  group  of  the 
Communion  of  St.  Pasquale,  by  Maragliano  (1723).  The  sacristy  contains 
a  Descent  from  the  Cross,  by  Maragliano  (1726);  the  colouring  is  modern. 

In  the  handsome  Via  Balbi  (PL  D,  C,  3,  2),  on  the  right,  No.  1, 
is  the  Palazzo  Durazzo-Pallavicini,  formerly  della  Scala,  built  by 
Bart.  Bianco  (?),  with  a  handsome  facade,  a  fine  vestibule,  and  a 
superb  staircase  (left)  added  by  Andrea  Tagliafico  at  the  end  of  the 
18th  century.  On  the  flrst  floor  (bell  to  the  right,  at  the  back)  is 
the  *Galleria  Durazzo-Pallavicini  (adm.,  see  p.  78). 

The  Antisala   contains   busts   of    the    Durazzo-Pallavicini    family.   — 

II.  Room    (to  the  left,   beyond   R.  III.).     Left:    Ouercino,   Mucins    Scsevola  ' 
before   Porsenna;   Van  Dyck('i)^  Portrait  of  a  man;    Rubens,  "Silenus  with 
Bacchantes  (ca.  1608);   An.  Carracci,  Repentant  Magdalen;  Imitator  of  Van 
Dyck,   Large   family  group   (not  James  I.  of  England  with  his  family).  — 

III.  Room.  Bei-n.  Sirozzi,  Portrait  of  a  bishop;  Ouercino,  The  tribute- 
money;  Titian,  Magdalen  (retouched).  —  IV.  Room.  Guido  Eeni,  Carita 
Romana ;  Paolo  Veronese,  Marriage  of  St.  Catharine  (school -piece);  Guido 
Reni,  Cleopatra;  Rubens  {")),  Portrait,  a  round  picture;  Ribera,  St.  James; 
Tintoretto,  'Portrait  of  Marchese  Agostino  Durazzo;  Quido  Reni,  Porcia  Ro- 


Via  Catroli,  Via  Balhi.        GENOA.  75.  Route.     89 

mana;  H.  Rigaud,  Marcbese  Ippolilo  Diirazzo.  Aduiiriiliie  porcelain  vases 
in  the  centre  of  llie  room.  —  V.  Koom.  Beautiful  Chinese  porcelain.  — 
VI.  Room.  Entrance- wall :  Domenichiiio .,  Risen  Christ  appearing  to  his 
mother,  Death  of  Adonis;  Van  Dyck,  -Boy  in  white  sa'in ;  Van  Dyck{'!) 
Young  Tobias;  Van  Dyck,  'Three  children  with  a  dog  (spoiled);  -Jiubens, 
•Philip  IV.  of  Spain,  tuil-length;  Ribcra,  Hcraclitus  (weepiug  philosopher), 
Democritus  (laughing  philosopher);  Van  Dyck,  "Marchesa  Cateriua  Durazzo 
with  two  children  (spoiled);  Titian  ('!),  Ceres  with  Bucchus,  nymph,  and 
Cupid.  —  VII.  Room.  Unimportant.  —  VIII.  Room.  Window-wall:  Un- 
known Dutch  Mailer  (ca.  1500),  Pieta;  Qerard  David  {"!),  Flight  into  Egypt; 
Fr.  Pourbus ,  C-arden  of  Flora;  Flemish  Master  (17lh  cent.),  Fete  chaui- 
petre.  —  IX.  Room.  To  the  right,  Rubens,  Ambrogio  Spinola;  German 
School  (attribnted  to  Lombard  Sch.),  Crucifixion,  with  saints.  —  The 
Library  contains  7000  vols.,   including  many  specimens  of  early  printing. 

On  tlie  left  side,  No.  4,  istlie*PaIa2zoBalbi-Sen4rega(Pl.  D,  3), 
begun  early  in  the  17th  cent,  by  Bart.  Bianco,  and  enlarged  in  the 
18th  by  Pier  Ant.  Corradi.  It  still  belongs  to  the  family  who  bnilt 
it,  and  after  whom  the  street  is  named.  The  superb  court,  with  its 
Doric  colonnades,  affords  a  glimpse  of  the  orangery.  The  interesting 
Picture  Gallery  on  the  second  floor  is  shown  on  introduction  only. 

Sai.a,  or  Large  Room,  adorned  like  the  others  with  ceiling-paintings 
by  Genoese  artists.  To  the  left:  Van  Dyck,  Francesco  Maria  Balbi  on 
horseback  (injured),  the  prototype  of  the  equestrian  portrait  of  Count 
Olivares  by  Velazquez,  now  in  the  Prado  Museum  at  Madrid.  To  the 
right:  Bern.  Strozzi,  Joseph  interpreting  the  dream;  portraits  by  Aug. 
Bromino,  etc.  —  Primo  Salotto  (to  the  right):  Rubens,  "Infant  Christ  and 
John  the  Baptist;  Ouido  Reni,  Lucretia,  Cleopatra.  Titian,  "Madonna  with 
SS.  Catharine,  Dominic,  and  donors:  'charming  picture  (about  1520),  thrown 
out  of  focus  by  abrasion,  washing,  and  repainting;  but  still  pleasing  on 
account  of  the  grace  of  the  attitudes  and  the  beauty  of  the  landscape' 
(  Crowe  <t  Cavalcaselle).  Qatid.  Ferrari,  Holy  Family ;  Van  Dyck,  Madonna 
with  the  pomegranate  (della  Melagrana).  —  Secondo  Salotto:  Van  Dyck, 
Equestrian  portrait.  Portraits  of  a  gentleman  and  of  a  'Lady  of  the  Balbi 
family.  —  Tf.ezo  Salotto:  Caravaggio,  'Conversion  of  St.  Paul,  trivial  in 
conception,  but  masterly  in  execution;  Master  of  the  Death  of  the  Virgin, 
Holy  Family  and  Adoration  of  the  Shepherds;  Guido  Reni,  St.  Jerome.  — 
Qdarto  Salotto:  Gvercino,  Rescue  of  Andromeda;  Pcrin  del  Vaga,  Four 
figures  of  children ;  Jae.  Bassano,  Market.  —  Gallf.ria  :  Sandro  P.otticdli 
(not  Filippino  Lippi).  Communion  of  St.  Jerome  (perhaps  a  copy);  Titian 
(or  more  probably  i/an^  con  Calcar),  Portrait;  Coireggio  (;;),  Jiarriagc  of  St. 
Catharine  ;   Van  Dyck,  Holy  Family. 

On  the  right  side  of  the  street,  No.  5,  is  the  Palazzo  dell' 
University  (PI.  D,  3),  begun  as  a  Jesuit  college  by  Bart.  Bianco  in 
1623,  and  created  a  university  in  1812.  The  *Court  and  stair- 
case are  probably  the  finest  at  Genoa.  The  second  floor  contains  a 
library,  a  natural  history  museum,  and  an  aula  with  six  allegorical 
bronze  statues  and  reliefs  by  Giovanni  da  Bologna.  A  staircase 
leads  hence  to  the  high-lying  Botanical  Garden  of  the  University 
(PI.  D,  2;  ring  at  the  iron  gate).  Adjoining  the  upper  entrance,  in 
tlie  Corso  Dogali  (p.  941,  is  the  Botanic  Institute,  founded  in  1897 
by  Sir  Thomas  Ilanbury  (p.  107). 

On  the  right  is  San  Carlo,  with  sculptures  by  Algardi  (1650). 

Left,  No.  10,  Palazzo  Eeale  (PI.  C,  3),  erected  about  IGoO 
by  the  Lombard  architects  Fra7ic.  Cantone  and  Giov.  Ang.  Falcone 
for  the  Durazzo  family,   and  extended  in   1705  by  Carlo  Fontana 


90    lioule  7,9.  GENOA.         c.  Piazza  del  Prindpe. 

of  Rome.  It  was  purchased  by  the  royal  family  in  1817,  ami  restored 
in  1842.  The  palace  contains  handsome  staircases  and  balconies  (fine 
views),  and  is  sumptuously  furnished  (adm.,  see  p.  78).  The  pictures 
and  arvtiquities  are  of  no  great  value. 

We  pass  through  an  antc-chamliLr  to  the  handsome  gallery  with  rococo 
painting  and  a  few  ancient  and  modern  statues:  on  the  right,  Apollo  and 
Apollino,  on  the  left,  Mercury;  at  the  end,  Rape  of  Proserpine  by  Hchiuffino. 
In  the  throne-roon),  two  large  pictures  by  Luca  Giordano.  In  the  royal 
apartments:  An.  Carracci,  Sibyl;  Perin  del  Vaga,  Holy  Family;  Ouercitio, 
Sibyl;  Va«  Dyck,  Portrait  of  Marchesa  Durazzo  (spoiled).  —  Fine  view  of 
the  harbour  from  the  balcony. 

The  Via  Balbi  ends  at  the  Piazza  Acuuaverde  (PI.  C,  2),  the 
large  square  in  front  of  the  W.  railway-station,  the  terminus  of  the 
electric  tramway  along  the  Via  di  Circonvallazione  a  Monte,  and  a 
station  on  the  electric  line  to  the  Piazza  Deferrari  (comp.  p.  76; 
ISos.  2  &  6).  On  the  N.  side  of  the  Piazza,  embosomed  in  palm- 
trees,  rises  the  marble  Statue  of  Columbus  (erected  in  1862),  who 
was  born  at  Genoa,  probably  in  1451  (d.  in  1506  at  Valladolid).  At 
the  feet  of  the  statue,  which  leans  on  an  anchor,  kneels  the  figure 
of  America. 

To  the  W.  of  the  station  is  the  Piazza  dbl  Pb,incipb  (PI.  B,  2), 
which  commands  a  good  view  of  part  of  the  old  fortifications.  A 
large  Bronze  Mcnument,  40  ft.  high,  by  Giulio  Monteverde,  was 
erected  here  in  1896  in  honour  of  the  Duke  of  QalUera  (p.  80). 
It  represents  Liberality,  led  by  a  winged  genius  and  handing  to 
Mercury  treasures  from  her  cup.  On  the  pedestal  is  a  medallion  of 
the  duke.  —  No.  4  in  the  piazza  (W.  side)  is  the  long  — 

Palazzo  Doria  (PI.  A,  B,  2),  presented  in  1522  to  Andrea 
Doria,  'padre  della  patria'  (d.  1560,  at  the  age  of  92).  It  was  remod- 
elled in  1529  from  designs  by  Fra  Giov.  Ang.  Montorsoli,  and 
adorned  with  frescoes  and  grotesques  by  Perin  del  Vaga.  The  elder 
branch  of  the  Doria  family,  to  which  the  palace  belongs,  has  allied 
itself  with  the  Pamphili  family,  and  generally  resides  at  Rome. 

The  long  Latin  inscription  on  the  side  next  the  street  records  that 
Andrea  d''Oria,  admiral  of  the  Papal,  Imperial,  French,  and  native  fleets, 
in  order  to  close  his  eventful  career  in  honourable  repose ,  caused  the 
palace  to  be  rebuilt  for  himself  and  his  successors.  His  praises  were 
thus  sung  by  Ariosto:  'questo  e  quel  Uoria,  che  fa  dai  pirati  sicuro  il 
vostro  mar  per  tutti  i  lati'. 

To  the  right  in  the  court  is  a  large  arcaded  loggia,  to  the  left  a  taste- 
ful garden  and  a  fountain  by  the  Carlone  (1599-1601),  with  a  statue  of 
Andrea  Doria  as  Neptune.  —  The  last  door  on  the  right  admits  us  to  the 
apartments  with  Perin  del  Vagas  Frescoes  (restored  in  1845).  On  the  ceiling, 
vaulting,  and  lunettes  of  the  great  entrance-hall  are  scenes  from  Roman 
history,  below  which  are  reliefs  by  MoniorsoK;  on  the  staircase  are  taste- 
ful grotesques.  A  corridor  on  the  lirst  floor,  with  portraits  of  the  Doria 
family,  is  charmingly  decorated  with  stucco  and  painted  ornaments  in  the 
style  of  Raphael's  loggie  in  the  Vatican;  a  saloon  with  a  large  ceiling-paint- 
ing, Jupiter  overthrowing  the  Titans  (superb  chimney-piece);  and  a  side- 
room   with    a    ceiling- fresco    of  the  Carita  Romana. 

The  garden  on  the  hill  opposite,  beyond  the  railway- line,  with 
a  colossal  statue  of  Hercules  f'/i  Qigante.)  in  a  niche,  also  belongs 
to  the  estate. 


c.   Ltghlhouse.  GENOA.  IS.  Route.     91 

A  Cable  Tramway  (No.  3,  p.  76;  lower  statiiiu  near  the  upper  Doria 
garden,  2  niiii.  to  the  X.  of  tlie  Piazza  Principe,  eulr.  IVdm  tlie  Salita  San 
Kocco)  ascends  to  Granarolo  (775  ft.;  Ristorante  Concordia,  witb  garden), 
which  commands  a  tine  view  of  the  town  and  the  Rivifra  di  Levantu. 
From  Granarolo  to  Castelhiccio,  sec  p.  93. 

The  Via  Saii  Benedetto  and  the  Via  Milauo,  farther  on,  kad 
from  the  Palazzo  Doria  past  the  Sailors'  Rest  (p.  78j  and  the  large 
new  quays  (comp.  p.  80)  to  the  lighthouse.  About  halfway  we  reach 
the  Piazza  Dinegro  (omnibus,  p.  76),  No.  41  in  which  is  the  Palazzo 
RosAzzA  (adm.  1  fr.).  The  charming  gardens,  with  their  rare  plants 
and  pretty  fountains,  deserve  a  visit;  in  the  upper  part  is  a  Belvedere, 
commanding  a  *View  similar  to  that  from  the  lighthouse. 

On  the  Capo  del  Faro,  the  rocky  headland  separating  Genoa  from 
San  Pier  d'Arena  (p.  94),  near  which  the  new  coal-harbour  (p.  80) 
is  being  constructed,  rises  the  large  Lighthouse  (Lanterna;  230  ft.), 
with  its  dazzling  reflectors  showing  a  light  visible  for  nearly  30  miles. 
Visitors  may  go  by  the  pS.  Pier  d'Arena  tramway  (No.  13,  p.  77)  to 
the  tunnel.  The  tower  (353  steps)  may  be  ascended  and  the  ap- 
paratus inspected  (fee  1  fr,);  but  the  platform  at  its  foot  commands 
as  good  a  view.    Best  light  in  the  evening. 

The  "ViKw  embraces  the  town  and  extensive  harbour  of  Genoa,  with 
tlie  amphitheatre  of  mountains  behind;  to  the  E.  the  Riviera  di  Levante 
is  visible  as  far  as  the  picturesque  promontory  of  Portoflno;  to  the  W. 
arc  seen  the  coast-villages  on  the  Riviera  di  Pouente  from  San  Pier  d'Arena 
to  Savona,  the  headland  of  Noli,  and  the  Capo  delle  Mele,  while  in  the 
distance  are  the  usually  snow-capped  peaks  of  the  Lignriun  and  Mari- 
time Alps. 

d.    From  the  Piazza  Deferrari  to  the  Via  di  Circonvallazione  a 

Mare  vik  the  Piazza  Corvette,  Acquasola,  and  the  Corso  Andrea 

Podesti. 

The  Via  Roma  (Pl.F,  5  ;  electric  tramways  Nos.  3  and  4,  p.  76), 
already  mentioned  at  p.  85,  is  another  important  focus  of  traffic. 
It  ascends  to  the  N.E.,  passing  (right)  the  Qalleria  Maazini  and 
cutting  off  a  corner  of  the  interesting  old  Palmzo  Spinoln  (now  the 
Prefettura),  to  the  Piazza  Corvetto  (PI.  F,  G,  5),  where  a  large 
bronze  equestrian  Statue  of  Victor  Emmanuel  II.  was  erected  in 
1886,  from  Barzaghi's  designs.  From  this  point  we  may  proceed  to 
the  left,  passing  a  marble  Statue  of  Mazzini  (p.  74),  to  the  — ■ 

*Villetta  Dinegro  (PI.  F,  4;  '240  ft.),  a  beautiful  public  park, 
with  pretty  cascades  and  an  unimportant  Zoological  Garden.  Wind- 
ing promenades  ascend  from  the  entrance  to  a  high  bastion  which 
affords  a  noble  survey  of  city,  harbour,  and  environs. 

The  direct  continuation  of  the  Via  Roma  is  the  Via  Assa- 
rotti,  leading  to  the  high-lying  Piazza  Manin  (p.  93).  —  From  the 
Piazza  Corvetto  we  ascend  to  the  right  to  the  park  of  Acquasola 
(PI.  G,  5,  6;  138  ft.),  laid  out  in  1837  on  part  of  the  old  ramparts 
(concerts,"see  p.  77).  —  From  the  S.  end  of  the  park  we  next  follow 
the  tramway  along  the  Coksq  Anijhba  Podksta  to  the  church  of  — 


92     nmit/:  18.  GENOA,     d.  .<?.  Maria  di  Carignano. 

Santo  Stefano  (Pi.  F,  G,  6),  situated  on  a  terrarve  near  the  Ponte 
Monumentaie  (see  below).  This  building  preserves  a  Romanesque 
tower  dating  from  the  original  church  on  this  site,  while  the  facade 
and  the  outer  columns  of  the  choir  date  from  a  Gothic  restoration  of 
the  14th  century.  The  cantoria  (choir-gallery)  on  the  entrance- 
wall  dates  from  1499.  Above  the  high- altar,  the  *  Stoning  of 
Stephen  by  Giulio  Romano,  one  of  his  best  works  (1523;  covered). 

We  now  cross  the  viaduct  (Ponte  Monumentaie)  above  the  Via 
Venti  Settembre  (p.  85)  and  enter  the  S.  part  of  the  Corso  Andrea 
Podesta  (PI.  F,  7;  fine  views).  From  the  Piazza  Galcazzo  Alessi 
(Pi.  F,  8)  we  follow  the  Via  Galeazzo  Alessi  to  the  W.  to  the 
(iliurch  of  — 

*Santa  Maria  di  Carignano  (PI.  E,  8;  174  ft.  above  the  sea), 
begun  by  Galeazzo  Ale&si  in  1552,  but  not  completed  till  1603.  It  is 
a  smaller  edition  of  the  plan  adopted  by  Michael  Angelo  and  Bra- 
maiite  for  St.  Peter's  at  Rome.  Here,  however,  a  square  ground- 
plan  takes  the  place  of  the  Greek  cross  of  St,  Peter's,  and  small 
lanterns  represent  the  minor  domes.  Principal  portal,  18th  century. 

Interior.  Second  altar  to  the  right,  Maraita,  SS.  Blasius  and  Sebastian; 
4th  altar,  Franc.  Vanni,  Communion  of  Mary  Magdalen;  1st  altar  to  the 
left,  Guercino,  St.  Francis ;  3rd  altar,  Lnca  Cambiaso,  'Entombment. 
Baroque  statues  below  the  dome  by  Pierre  Pugel  (St.  Sebastian  and  the 
beatified  Alessandro  Sauli),  Parodi  (John  the  Baptist),  and  David  (St,  Bar- 
tholomew). 

The  "View  from  the  highest  gallery  of  the  dome  (370  ft.  above  the  sea; 
119  steps  to  the  first  gallery,  thence  tf>  the  top  130;  easy  and  well  lighted 
staircase)  embraces  the  city,  harbour,  and  fortifications,  the  well-peopled 
coast  (coaip.  p.  91),  and  on  the  S.  the  vast,  ever-varying  expanse  of  the 
Mediterranean.  (Sacristan  25  c.;  his  attendance  for  the  ascent  unnecessary; 
best  light  in  the  morning.) 

The  Via  Fieschi  leads  from  the  N.E.  side  of  the  church  to  the 
Via  Venti  Settembre  (p.  85);  from  the  N.W.  side  the  Ponte  Carig- 
nano (1718),  spanning  a  street  100  ft.  below,  leads  to  the  Piazza 
Sarzano  (PI.  D,  7)  and  the  harbour  (p.  80).  —  In  the  opposite 
direction  the  Via  Nino  Bixio  leads  to  the  Piazza  Bixio  (PI.  F,  8), 
among  the  gardens  of  which  rises  a  large  bronze  statue  of  General 
Nino  Bixio  (1821-73),  by  Pazzi  (1890). 

The  broad  Via  Corsica  (PI.  F,  E,  8,  9),  the  prolongation  of  the 
Corso  Andrea  Podesta,  descends  from  the  Piazza  Bixio  towards  the 
S.W.  to  the  — 

*Via  di  Circouvallazione  a  Mare,  a  fine  street,  laid  out  in  1893- 
95  on  the  site  of  the  outer  ramparts,  traversed  by  a  tramway  (No.  11, 
p.  77),  and  commanding  beautiful  views.  It  begins,  as  the  Via 
Odone,  at  the  Piazza  Cavour  (PL  D,  6;  p.  81)  and  passes  the  docks 
mentioned  at  p.  81 ;  then,  under  the  name  of  Corso  Aurelio  Saffi 
(PI.  E-H,  9,  10),  it  ascends  gradually,  skirts  the  sea  beneath  the 
hill  crowned  by  the  church  of  Santa  Maria  di  Carignano  (see  above), 
and  finally  ascends  the  right  bank  of  the  Bisagno  to  the  Ponte  Pila 
(PI.  H,  I,  7;  p.  85),  whence  it  is  continued  by  the  Via  Canevari, 
leading  to  the  Campo  Santo  (p.  94). 


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e.  Circonvallnzione  a  Monte.     GENOA.  18.  Route.     93 

The  EoAD  TO  Nkkvi  (Irauiway  Xo.  8,  p.  77;  tarriage-tariff,  see  p.  76), 
the  E.  continuation  of  the  Via  Venti  Settembre  (p.  85),  runs  due  E.  beyond 
the  Piazza  Tommaseo  (PI.  K,  8)  via  the  CoUina  (fAlharo.  In  San  Francesco 
(VAlbaro,  at  the  top  of  the  ridge,  are  the  house  occupied  by  Lord  Byron 
in  1822-23  (Via  Albaro  10),  the  Palazzo  del  Paradiso  (16th  cent.),  the  Villa 
Oambiaso  (1557),  and  other  fine  country-houses.  We  then  descend  to  Sim-la 
(23  ft.  ;  p.  107),  where  the  route  approaches  the  sea,  and  skirt  the  coast, 
with  continuous  line  views  of  both  Rivicras  (p.  73),  to  the  station  of  Quarto 
(p.  107).  A  small  monument  near  the  station  marks  the  point  of  embark- 
atioti  of  1000  Gariiialdians  for  Marsala  in  1860.  Thence  via  Quinto  to 
Xerri  (p.  107). 

e.  From  the  Piazza  Corvetto  to  the  Piazza  Manin.  Via  di  Cir- 
convallazione  a  Monte.    Castellaccio.    Campo  Santo. 

The  Via  Assarotti  (p.  91)  ascends  from  the.  Piazza  Corvetto  to  the 
N.E.,  passing  the  church  of  Santa  Maria  Immacolata  (^Pl.  G,  4;  1856- 
73),  to  the  Piazza Makin  (PI.  I,  4;  330  ft.  above  the  sea).  On  the  W. 
side  of  this  piazza  begins  the  Via  di  Circonvallazione  a  Monte,  a 
magnificent  route  laid  out  since  18T6  on  the  hills  at  the  back  of 
the  town  (tramway  No.  2,  see  p.  76).  It  skirts  the  hillside  to  the 
W.  in  long  windings,  under  various  names  (Corso  Principe  Amedeo, 
Corso  Solferino,  Corto  Magenta,  Corso  Paganini),  and  leads  to  the 
Spiunata  Castelletto  (PI.  E,  3),  commanding  one  of  the  finest  views 
of  Genoa.  Here  it  takes  the  name  of  Corso  Firenze  and  runs  to  the 
N.  to  the  church  and  cable-car  station  (No.  1 ;  p.  77)  of  San  Nicolb 
(PI.  E,  1).  It  then  sweeps  round  above  the  poor-house  (see  below) 
and  the  charmingly  situated  Castello  de  Albertis  (PI.  C,  1),  1),  a  villa 
in  the  style  of  a  medieval  castle,  to  the  Corso  JJgo  Bassi,  whence  it 
winds  down  under  various  names  to  the  Piazza  Acquaverde  (p.  90). 
The  tramway  avoids  some  of  the  curves  by  a  tunnel. 

From  the  Piazza  della  Zecca  (PI.  D,  3 ;  p.  88)  the  cable-tram- 
way mentioned  at  p.  77  ascends  through  a  tunnel  in  7  min.  to 
S.  Nicolh  (see  above;  change  of  carriage)  and  thence  in  7  min.  more 
through  orchards  to  the  loftily-situatt  d  *Castellaccio.  The  site  of 
the  upper  terminus  of  the  line  (ca.  1020  ft. ;  Caffe-Eisiorante  Bere- 
gardo,  d4j.  21/2)  I^- 4  fr.,  well  spoken  of)  commands  a  beautiful 
view  of  the  valley  of  the  Bisagno  and  the  Campo  Santo.  A  little 
higher  up  is  the  '^Hotel-Restaurant  Righi  (1070  ft.;  dej.  S^/o)  ^■ 
5  fr.),  with  a  magnificent  view  of  Genoa  and  the  coast  from  Savona 
to  the  promontory  of  Portoflno.  A  more  extensive  view  is  obtained 
immediately  above  the  old  Forle  Castellaccio  (1252  ft.) ,  10  min. 
farther  up.  —  In  winter  the  N.  wind  is  often  very  cold  on  this  ex- 
cursion. 

Pedestrians  may  eitLer  take  the  steep  paved  path,  beginning  at  the 
Trattoria  dei  Cacciatori ,  a  little  to  the  W.  of  the  Hotel  Eighi ,  which 
descends  in  20  min.  to  the  church  of  San  Nicolb  (see  above),  or  follow  the 
stony  ridge  to  the  W.  of  the  fort  to  (ca.  IV2  hr.)  Oranarolo  (p.  91). 

The  older  line  of  roads,  diverging  to  the  left  at  the  Spianata  Castel- 
letto (see  above),  is  known  as  the  Via  di  Circonvallazione  a  Monte  Inferiore. 
The  first  part  of  it,  named  the  Corso  Carbonara,  leads  to  the  Albergo  dei 
Poveri   or  poor-house   (PI.  D,  E,  1,  2;  318  ft.    above   the  sea),   which  hai 


94     Route  /6\  GENOA.  e.  f'ampo  Santo. 

room  lor  1300  persons.  It  then  takes  the  uame  of  Corso  Udgali  and  re- 
joins the  main  thoroughfare  at  the  Castello  do  Albertis,  adjoining  the  up- 
per entrance  to  the  Botanic  Garden  (p.  89). 

The  Campo  Santo  or  Cimilero  di  Staglieno  (open  daily  9-6,  in 
winter  10-5;  tramway  No.  6,  p.  76)  is  readied  from  the  Piazza  Mauin 
(p.  93)  by  the  Via  Montaldo,  which  leaves  the  city  by  the  Porta 
San  Bartolomeo  (PI.  I,  3,  4)  and  then  descends  (views)  to  the  N. 
into  the  Valley  of  the  Bisagno  and  to  Staglieno  (p.  361).  About 
1/2  M.  farther  on  (IV2  ^-  'i'"™  t^^  town)  is  the  entrance  to  the 
cemetery,  which  was  laid  out  by  Resasco  in  1844-51  and  stretches 
up  the  slope  on  the  N.  bank  of  the  Bisagno.  We  first  enter  a  large 
rectangular  space,  with  sumptuous  single  monuments  in  the  recesses 
of  the  arcades,  and  beyond  that  is  an  oval  space,  with  rows  of 
monuments  in  the  recesses.  Flights  of  steps  and  broad  inclined 
planes  lead  up  to  the  upper  galleries,  the  central  point  of  which  is  a 
rotunda,  with  a  dome  borne  by  monolithic  columns  of  black  marble. 
Above  the  rotunda,  to  the  N.E.,  close  to  the  steep  hillside,  is  the 
tomb  of  Giuseppe  Mazzini  (d.  1872).  —  In  returning,  we  may  use 
the  tramway  line  (No.  7)  along  the  Via  di  Circonrallazione  a  Mare 
(p.  92). 

By  road  from  Genoa  t"  Piacema,  comp.  p.  360. 


19.  From  Genoa  to  Ventimiglia.  Riviera  di  Ponente. 

94  M.  Railway  in  41/2-7  hrs.  (fares  17  fr.  55,  12  fr.  30,  7  fr.  90  c.  ;  ex- 
press  19  fr.  80,  13  fr.  50  c.).  The  'train  de  luxe'  from  Vienna  to  Cannes 
(p.  23)  performs  the  journey  in  about  41/4  hrs.  (1st  class  fare  26  fr.  10  c). 
In  winter  a  dining-car  (dej.  S'/z,  D-  4V2  fr.)  is  attached  to  the  first  ex- 
press from  Genoa  and  the  afternoon  express  from  Ventimiglia.  —  This  tour 
by  road  (103  JI.),  thougli  very  fatiguing,  is  recommended  to  Cyclists.  — 
Electric  Tramway  (No.  13)  to  Voltri,  see  p.  77. 

In  calm  weather  the  Steamboat  Jocknet  is  far  preferable  to  the  rail- 
way. Steamers  of  the  Hamburg-Amerika  Line  ply  every  Men.,  Wed.,  & 
Frid.,  from  Jan.  10th  to  May  12th  from  Genoa  to  San  Remo  (4^/4  hrs. ; 
fare  18  fr.  90,  return  30  fr.  80  c),  Monaco,  and  Nice;  returning  every  Tues., 
Thurs.,  <fe  .Sat.  (restaurant  on  board).  The  boats  start  from  the  Ponte 
Federico  Guglielmo  (p.  75). 

The  remarks  at  p.  73  on  the  luxuriant  flora  apply  especially  to 
the  Riviera  di  Ponente.  The  railway  penetrates  the  numerous  pro- 
montories by  tunnels. 

2  M.  San  Pier  d' Arena  or  Sampierdarena,  situated  on  the  coast 
at  the  mouth  of  the  Polcevera  (p.  53),  has  15,100  inhab.  and  num- 
erous palaces,  including  the  Pal.  Scassi,  formerly  Imperiali,  and  the 
Pal.  Spinola,  both  probably  by  Gal.  Alessi.  Large  sugar-refinery 
and  steel- works,  etc.  Fine  view  from  the  pilgrimage-church  near 
the  Forte  Belvedere  (420  ft.;  inn),  IV4  M.  to  the  N.E. 

21/2  M.  Cornigliano  Ligure  (Grand  Hotel  Villa  Rachel),  an  in- 
dustrial town  with  numerous  villas  (Villa  Raggio,  finely  situated  on 
the  coast). 


PEGLI.  in.  Route.     95 

4Va  M.  Sestri-Fonente  ( Albergo-Ristoronte  delta  Orotta),  with 
17,200  inhab.,  has  a  number  of  manufactories  and  ship-yards. 

6  M.  Fegli.  —  Hotels.  'Gkand  Uotkl  MauiTEKitANftE,  in  the  Palazzo 
Lomellini,  with  hydropathic  and  electro-therapeutic  arrangements,  lift, 
steam-heating,  and  large  and  tine  garden,  R.  3-7,  B.  I'/z,  dej.  31/2,  1>-  5, 
pens.  9-14  tr.,  sea-bath  (50c:  Gargini's  Gk.  Hotel  Pegli  (English  landlady), 
R.  from  4,  B.  I'/v,  d^j.  3'/2,  D-  472,  pens,  from  S  fr.,  these  two  on  the  coast. 
—  Hotel  de  la  Ville,  opposite  the  station,  R.  2-5,  B.  IV2,  d<5j.  3,  D.  4'/2, 
pens.,  incl.  wine,  from  7fr. ;  Pens.  Beahkegabd,  Passesgiata  dei  Villini; 
Hotel- Pension  Foubes,  Villini  Umbf-rto  Primo  18,  pens,  from  7  fr.  — 
Sanatorium.  Ktirhaiis  Pegli  (Ur.  Gmelin),  with  park.  —  Restaurants.  Euto- 
irinfe  dei  Bagni  (rooms);  Caff^  MHano,  liistorante  Andrea  Doria  (rooms), 
both  unpretending  but  good.  —  Physicians,  see  under  Genoa,  p.  78;  also 
Dr.  Heusser  and  Dr.  Gmelin.  —  English  Church  (St.  John),  with  services  from 
Xov.  to  April.  —  Electric  Tramway  to  Genoa  and  Voltri,  No.  13,  p.  77. 

Pegli  (20  ft.),  with  6100  inhab.,  ship-hnilding  yards,  and  an 
old  castle  (Castellazzo),  a  much  visited  summer  sea-bathing  place, 
is  cooler  and  molster  than  the  W.  wintering-places  on  the  Riviera 
and  is  itself  visited  as  a  winter-station  by  nervous  sufferers. 

Numerous  beautiful  walks  in  the  wooded  valleys  and  on  the 
hill-slopes  lend  a  peculiar  charm  to  Pegli,  as  compared  with  places 
on  the  Riviera  better  protected  by  the  mountains  but  more  hemmed 
in.  The  Passeyginta  dei  Villi7ii,  in  the  grounds  of  the  former  Yilla 
Elena,  may  be  specially  mentioned  (line  views).  Among  the  villas 
are  the  Villa  Rostan  (15th  cent.),  witli  grounds  in  the  English 
style,  the  Villa  Rapallo  (adm.  1-2  fr.),  and  the  Villa  Doria  (permesso 
in  the  Pal.  Doria  in  Genoa).    The  chief  attraction  is,  however,  the  — 

*ViUa  Pallavicini  (open  on  week-days  10-3.  on  Sun.  &  holidays 
9-2;  closed  on  Frid.,  Maundy  Thursday,  Easter  Sunday,  Whitsunday, 
All  Saints  Day,  and  Christmas  Day),  now  the  property  of  the  Marquis 
de  Campotejar  of  Granada.  The  entrance  is  immediately  to  the  left 
of  the  exit  from  the  station ;  permessi  are  obtained  at  the  stew- 
ards  office,  where  visitors  write  their  names  in  a  book  and  receive 
a  guide  (fee  1  fr.).    The  visit  takes  about  i^/^hr. 

The  grounds  extending  along  the  slopes  of  the  coast  display  a  profusion 
of  luxuriant  vegetation  and  afi'ord  delightful  prospect?  of  Genoa,  the  sea,  the 
coast,  and  the  mountains.  On  the  highest  point  (to  which  visitors  should 
insist  upon  proceeding)  stands  a  castle  in  the  mediajvai  style  with  a  tower 
(view).  Around  it  are  indications  of  a  simulated  siege.  Farther  on  is 
a  stalactite  grotto  with  a  subterranean  piece  ol'  water;  under  the  bridge 
a  striking  glimpse  of  the  lighthouse  of  Genoa  and  the  sea.  There  are 
also  summer-houses  in  the  Pompeian,  Turkish,  and  Chinese  styles,  an 
obelisk,  fountains,  surprize  water-works,  etc.  The  gardens  contain  line 
examples  of  the  vanilla,  cinnamon,  and  camphor  plants,  sugar-canes, 
palms,  cedars,  magnolias,  and  azaleas. 

7  M.  Pra,  a  ship  -  building  place;  81/2  M.  Voltri,  a  town  with 
13,000  inhab.,  at  the  mouth  of  the  Cerusa,  with  paper-factories,  a 
marine  hospital,  and  the  Villa  Oalliera. 

13  M.  Arenzano  (Grand  Hotel,  closed  in  winter;  Hot.  Genova, 
R.  from  11/2,  pens,  from  7fr. ;  Albergo  Roma),  a  small  summer- 
resort  with  a  good  shore  for  bathing.,  an  old  castle,  and  the  flne  park 
of  the  Villa  Pallavicini;  beautiful  retrospect  towards  Genoa. 


96     Rante  19.  SAVONA.  From  Genoa 

151/2  M.  Cogoleto,  erroueovisly  described  as  the  birthplace  of 
Columbus  (p.  90).  —  191/2  M.  Varazze  (Hot.  Genova,  R.  2  fr.,  Hot. 
Torretti,  both  very  fair),  with  6700  iiihab.,  is  a  busy  ship-building 
place,  prettily  situated  among  orange  gardens,  and  is  visited  as  a 
■wintering-place  and  bathing-resort.  —  li^/^M.  Celle  Ligure,  the 
birthplace  of  Pope  Sixtus  IV.  (Francesco  della  Rovere).  —  24  M. 
Albissdla,  the  Roman  Alba  Bocilia,  situated  at  the  mouth  of  the 
Sansobbia,  includes  three  villages.  Pottery  is  largely  manufactured 
in  Albissola  Marina.  The  handsome  Palazzo  della  Rovere  (now  Pal. 
Gavotti ),  in  Albissola  Superiore,  was  the  birthplace  of  Popes  Julius  II. 
(Giuliano  della  Rovere). 

261/.2  M.  Savona.  —  Hotels.  Hotel  Moderne  du  Commbkce,  near 
the  station,  K.  S'/s-S  fr. ;  Albergo  Roma,  R.  2V2,  omn.  1/2  fr.,  Alb.-Ristor. 
SvizzERO,  R.  li/2fr.,  both  well  .'^poken  nf :  Alb.  Nlovo  Torino,  at  the  station. 
—  Hail.  Restmirant.  —  Cabs.  Per  drive  80  c,  per  hour  l'/2  fr  ,  special  tariff 
fur  longer  excursions.  —  Omnibuses,  To  Albissola  Superiore,  35  c. ;  to  Vadu, 
every  20  niin.,  30  c. ;  to  Spotorno,  twice  daily,  50  c. ;  etc.  —  Sea  Baths  at  the 
St'ihilimento  Wanda.  —  British  Vice-Consul,  Ottavio  Ponzone. —  Church  Secnnen"! 
Institute  for  British  sailcjrs  (services  on  Sun.  and  Tues.,  concert  on  Wed.). 

Savona  (33  ft.),  the  Savo  of  the  Romans,  on  the  Letimbro,  was 
occupied  in  the  second  Punic  War  by  Hannibal's  brother  Mago, 
and  during  the  middle  ages  waged  an  unsuccessful  rivalry  with 
Genoa.  It  is  now  the  seat  of  a  bishop  and  one  of  the  most  impor- 
tant sea-ports  and  industrial  towns  (24,900  inhab.)  of  Italy.  Soap 
(sapone)  is  said  to  have  been  invented  here  and  to  have  derived 
its  name  from  this  town. 

At  the  Harbour,  to  the  N.E.  of  the  station,  rises  the  ancient 
Torre  Pancaldo,  called  after  the  navigator  of  that  name ;  and  on 
the  adjoining  point  is  a  Genoese  fort  (now  a  prison),  incorporating 
some  remains  of  the  old  cathedral,  destroyed  in  1542.  The  new 
Cathedral  (of  1604)  contains  a  picture  by  Lod.  Brea,  a  marble  cross 
by  G.  A.  Molinari  (1499),  and  a  Renaissance  pulpit  by  Moliuari 
and  Ant.  Aprile  (1522).  Opposite  is  the  Ateneo  (unfinished),  built 
for  Julius  II.  by  Giul.  da  Sangallo.  The  handsome  theatre,  erected 
In  1853,  is  dedicated  to  the  poet  Chiabrera  (1552-1637),  a  native  of 
the  place.  The  oratory  of  Santa  Maria  di  Castello  has  a  large  altar- 
piece  by  Vine.  Foppa  and  Lod.  Brea,  with  a  portrait  of  the  donor, 
Giuliano  della  Rovere  (1490;  injured).  There  is  a  small  picture- 
gallery  in  the  Ospedale  Civico  (open  on  Sun.  &  Thurs.,  10-4). 

To  the  S.W.  of  the  station  extend  a  large  Industrial  Quarter, 
with  iron-works,  steel-works,  potteries,  etc.,  and  the  pretty  Qiar- 
dino  Pubblico. 

The  church  of  the  Madonna  degli  Angeli,  near  the  artillery-barracks, 
to  the  K.  above  the  harbour,  commands  a  "View  of  the  Gulf  of  Genoa  as 
far  as  Camogli.  —  Santuario,  see  p.  51. 

From  Savona  to  Turin,  see  pp.  51-49;  to  Alessandria,  see  p.  53. 

The  railway  now  traverses  large  lemon  and  orange  gardens.  — 
30  M.  Vado,  the  Vada  Sabatia  of  the  Romans  (fine  view  from  the 
lighthouse  1 Y4  M.  to  the  S.E.).  —  31 1/2  M.  Bergeggi.  From  the  road 


to  Vmlhniij  ia.  AI-I$ENGA.  I'J.  lioute.     97 

to  (12  M.)  Spotorno  we  obtain  a  fine  ^Retrospect  of  tlio  Riviera  as  far 
as  Genoa.  Opposite  lies  the  rocky  islet  of  Bergeggi  (210  ft.),  with  a 
ruined  Koman  tower ;  it  was  once  the  seat  of  a  celebrated  monastery. 
—  34  M.  Spotorno  (Alb.  della  Pace),  with  an  excellent  bathing  beach. 

36  M.  Noli  (^Ristorante  d' Italia,  R.  2fr.,  Ristor.  Almagen,  with 
bedrooms,  both  well  spoken  of),  a  little  fishing  town,  charmingly 
ensconced  in  a  sheltered  situation,  once  a  free  town  under  the  pro- 
tection of  Genoa,  has  several  ancient  towers,  the  remains  of  the 
town-walls,  and  a  good  beach.  The  small  Romanesque  basilica  of 
San  Paragonio,  near  the  station,  dates  from  the  loth  century.  — 
Beautiful  *Vicw  from  the  Capo  di  Noli,  3  M.  to  the  S.,  on  which 
are  a  signal-station  (Semaforo)  and  the  Romanesque  church  of  Santa 
Margherita,  finely  situated  on  the  edge  of  the  cliff. 

The  picturesque  road  from  Noli  via  Varigotti  (see  below)  to  (S'/s  M.) 
Finale  Marina  intersects  the  limestone  cliCTs  of  the  Capo  di  Noli  by  means 
of  a  tunnel,  130  yds.  in  Icnglh  (near  the  cave  of  Garbasso,  inhabited  in 
the  middle  ages,  and  some  quarries). 

381/.)  M.  Varigotti  (inn);  path  to  the  Semaforo  (I'^hr.),  see  above. 

41  M.  Finale  Marina  (Albergo  Oaribnldi,  R.  2  fr.,  very  fair;  Alb. 
del  Qi'irdino)  is  a  prettily  situated  little  town,  with  large  orange- 
gardens  aTid  two  sea-bathing  establishments.  The  elaborate  bar- 
oque Church  is  by  Bernini.  The  old  Castle,  above  the  Villa  De  Ray- 
mondi,  is  now  a  prison.  To  the  N.,  above  Finale  Pia,  lies  the  village 
of  Verzi,  with  a  Roman  bridge.  To  the  W.,  beyond  the  mouth  of 
the  Porra,  is  the  precipitous  promontory  of  Caprazoppa,  which  the 
road  pierces  by  a  tunnel;  and  farther  on  are  sand-dunes  and  large 
limestone  quarries. 

43  m.  Borijo  Verezzi  (Pons.  Villa  des  Caroubiers,  41/2-6  fr., 
well  spoken  of).  —  45^/2  M.  Pietra  Ligure  has  an  interesting  church 
and  a  ruined  castle  on  an  isolated  rock. 

47  M.  Loano  (Hot.  Bellevue).  To  the  right  of  the  line  is  the 
suppressed  monastery  of  Monte  Carmelo,  erected  by  the  Dorias  in 
1609.  —  48  M.  Borghetto  Santo  Spirito  is  the  station  for  the  village 
of  Toirano  (omn.  4  times  daily),  2  M.  to  the  W.,  with  the  pilgrim- 
age-chapel of  Santa  Lucia  (fine  stalactite  caverns  in  the  neigh- 
bourhood). —  Beyond  (49  M.)  Ceriale ,  with  its  market -gardens, 
the  mountaiT'.s  recede. 

52  M.  Albenga  {Rail.  Restaurant;  Albergo  Vittorio,  d' Italia, 
both  Italian,  and  others;  omn.  to  Alassio,  see  p.  98),  the  Albin- 
gaunum  of  the  Romans,  in  a  wide  plain  on  the  Cenia,  is  the  quaint- 
est old  town  in  the  Riviera  (4300  inhab.)  and  an  episcopal  see. 
The  old  harbour  has  disappeared  with  the  recession  of  the  coast- 
line. The  old  Tcicn  Walls  are  preserved,  besides  numerous  Brick 
Towers  of  chateaux  of  the  old  noblesse,  including  the  leaning  Torre 
dei  Griffi  and  the  tower  of  the  present  Sottoprefettur>i,  connected 
by  an  arch  with  the  campanile  (138  ft.  high)  of  the  Gothic  Cathe- 
dral. Behind  the  last  is  an  early-Christian  Buplistery  (5th  cent.). 
Other  interesting  structures  are  the  early  Romanesque  chapel  of 

Bakdkker.   Italy  I.   13iL  Kdit.  7 


98     Route  19.  ALASSIO.  Froin  Genoa 

Santa  Maria  in  FonUbus  (10th  cent.)  aiul  a  Uoman  bridge  (Ponte 
Lungo;  150  yds.  long),  beneath  with  the  Centa  formerly  flowed,  in 
the  avenue  1/4  M.  to  the  N.  of  the  town.  Near  the  present  mouth  of 
the  river,  I1/2  M.  from  the  station,  we  obtain  a  beautiful  view  of 
Albenga,  the  coast  as  far  as  the  Capo  di  Noli,  the  island  of  Gallinaria, 
and  the  Ligurian  Alps.  —  From  Albenga  to  Oaressio,  see  p.  50. 

To  the  left  lies  the  rocky  island  of  Gallinaria  (295  ft.),  with 
picturesque  cliffs,  two  caves  on  the  shore,  and  an  old  Benedictine 
abbey  (13th  cent. ;  now  a  private  house).  —  The  train  skirts  the 
promontory  of  Santa  Croce  (see  below). 

56'/2  M.  Alassio.  —  Hotels.  'Gband  Hotel  d'Alassio,  with  lift  and 
stcam-hi^atlng,  R.  3V2-5,  B.  i'^,  d^j.  3,  D.  41/2,  pens.  9-12  fr.  (L.  extra), 
omn.  1  fr.  ;  Salisbury  Hotel,  high  up,  patronized  by  the  English,  pens. 
9-12  fr.  (these  two  of  the  first  class,  with  liarden);  IIot.-Pkns.  Bellevue, 
in  an  open  situation,  B.  I'/ii  dej.  .31/2,  D.  41/2  fr.,  incl.  wine,  board  7fr.; 
Norfolk  Hotel,  B.  11/2,  doj.  3,  D.  41/2,  pens.  8-12  fr. ;  Terminus  Hotel 
Concordia,  very  fair;  Hot.  Suisse,  R.  '.^72-3)  B.  l^/t,  D.  3V2,  pens.  7-8  fr., 
well  spoken  of;  Hot.-Pbns.  Victoria,  on  the  sea,  an  Eiigli.^h  family  hotel, 
R.  from  21/2,  B.  IV4,  dcj.  2i/),  1).  3'/2,  incl.  wine,  pens,  from  7  fr.,  weJlspoken 
of;  Hotel  Milan,  on  the  .sea,  R.  from  2,  B.  1,  dej.  21/2,  D.  4,  pens,  from 
6  fr. ;  Hot.  de  la  Mediterkanee,  on  the  sea,  with  garden,  pens.  6-7  fr. ;  Hot. 
Savoia,  with  steam-heating  and  garden,  R.  from  2,  E.  i,  dej.  2,  1».  3,  pens. 
5-6  fr. ;  Alb.  del  Commercio;  Alb.  Nazionale,  unpretending.  —  Pension 
Villa  Ldigia,  5-71/2  fr.,  very  fair.  —  Banker,  House  Agent,  etc.,  Walter 
Congreve.  —  Bookseller,  Librairie  Internationale.  —  Carriage  with  one 
horse  to  the  Capo  Santa  Croce  3,  with  two  horses  5  fr. ;  to  Solva  or  Moglio 
4  and  6  fr. :  to  the  Capo  delle  Mele  6  and  7  fr.  —  Omnibus  twice  daily  to 
Albenga  (30  c).  —  Boat  to  Gallinaria  8  fr.  —  English  Clnirch  (St.  John's), 
services  at  10.30  &  3  or  5 ;   chaplain,   Uev.  F.  W.  Sutton,  Casa  San  Giorgio. 

Alassio  (16  ft.),  a  fishing  port  with  4200  inhab.,  situated  on  a 
semi-circular  bay  opening  to  the  S.E.,  has  a  fine  sandy  beach  ex- 
tending as  far  as  Laigueglia.  It  is  frequented  in  summer  as  a  bathing- 
place,  and  in  winter  as  a  health-resort,  especially  by  English  visi- 
tors. Beside  the  station  is  Hanhury  Hall,  with  concert  and  reading 
rooms;  below  are  tlie  public-park  and  a  short  esplanade,  with  an 
ancient  tower  and  a  view  of  Gallinaria  and  Laigueglia. 

ExoDiisioNs  (photographing  on  the  mountains  forbidden).  To  the  N.E. 
to  the  (3/4  hr.)  Capo  Santa  Croce,  with  tlie  remains  of  a  Roman  road  .ind 
the  picturesque  ruins  of  the  Arco  Santa  Croce  (evening  light  best).  —  To 
the  top  of  the  (2  hr.=i.)  '-Mont-;  Puciavino  (1960  ft.;  wide  view),  either  hy  the 
road  to  the  N.  via  Solva,  or  by  the  mule-path  to  the  N.W.,  leading  through 
groves  of  olives  and  carob-tree-',  to  Vegliasco  (1280  ft.).  The  descent  may 
be  made  via  the  Monte  Bignone  (1705  I't.)  to  Albenga  (p.  97).  —  Via  Vegliasco, 
<ir  to  the  W.  via  Moglio,  to  the  top  of  the  Monte  Timsso  (1920  ft.),  on 
which  is  the  pilgrimage-cliapel  of  AJadonna  delta  Guardia. 

58  M.  Laigueglia,  with  narrow  streets,  was  bombarded  by  the 
British  fleet  in  1812.  —  The  train  penetrates  the  CWpo  Mele  (240  ft.; 
lighthouse,  signal- station,  and  pilgrimage-chapel)  by  means  of  a 
long  tunnel,  while  the  road  describes  a  wide  curve.  —  60  M.  An- 
dora,  a  group  of  villages  in  the  fertile  vale  of  the  Merula  (sulphur- 
springs;  11/2  M-  inland  a  large  ruined  castle).  —  681/2  M.  Cervo 
(223  ft.),  picturesquely  situated  on  the  right.  —  65  M.  Diano  Marina 
(Hot.  Paradis,  with  sea-baths,  pens.  8-9  fr.),  in  a  fertile  plain,  was 


to  Ventimiylia.  SAN  UKMO.  /!'.  Route.     99 

tho  central  point  of  the  great  earthquake  of  February,  1887,  but  has 
since  then  been  largely  rebuilt  (2000  inhab.).  To  the  right,  inland, 
is  Diano  Castello.  —  The  train  passes  by  a  tunnel  under  the  Capo 
Berta  (880  ft.),  on  which  stands  a  ruined  tower.  In  clear  weather 
the  view  from  the  cape  (8/4  hr.'s  walk  from  Oneglia)  extends  east- 
wards to  the  Riviera  di  Levante. 

681/2  M.  Oneglia  (^Rail.  Restaurant ;  Orand-Hotel  Oneglia,  pens. 
6-8  fr.;  Hot.  Victoria;  Alb.  del  Vapore;  Hotel  Suisse;  omnibus  to 
Porto  Maurizio,  20  c),  with  8300  inhab.  and  a  shallow  harbour, 
carries  on  a  busy  trade  in  olive-oil.  Near  the  station  is  a  cellular 
prison.  Oneglia  was  the  birth-place  of  Andrea  Doria  (p.  79)  and 
of  Edmoiido  do  Amicis  (1846),  the  writer.  From  1298  to  1576  it 
was  in  the  possession  of  the  Genoese  family  of  the  Dorias;  after- 
wards in  that  of  the  dukes  of  Savoy.  To  the  N.  appear  the  snow- 
clad  peaks  of  the  Ligurian  Alps. 

From  Oneglia  to  Ormea,  via  the   Col  di  Nava,  see  p.  50. 

The  train  crosses  the  broad  and  stony  bed  of  the  Impero.  —  70  M. 
Porto  Maurizio  (Hotel  de  France,  at  the  station ;  Commercio,  in  the 
town),  ^vith  6800  inhab.  and  a  small  harbour,  is  most  picturesquely 
situated  on  a  promontory.  Olive-oil  is  the  staple  commodity.  Porto 
Maurizio  has  a  fine  domed  church  by  Simone  Cantoni  (1799)  and  a 
charming  Giardino  Pubblico. 

The  scenery  now  becomes  less  picturesque.  —  73  M.  San 
Lorenzo  al  Mare;  77'/2  M-  Santo  Stefano-Riva  Ligure. —  The  train 
crosses  the  Argentina  or  Fiumara  di  Taggia ,  beyond  which  is 
(791/2  M.)  Taggia,  which  is  the  station  also  for  the  fishing-village 
of  Arma.  A  road  leads  from  Arma  to  (3  M.)  Bussana  Vecchia, 
romantically  perched  on  a  hill  (670  ft.).  The  ruins  of  this  village, 
which  was  completely  destroyed  by  the  earthquake  of  1887,  are 
worth  visiting  (key  of  the  ruined  church  at  Bussana  Nuova,  l^/gM. 
lower  down). 

The  picturesque  little  town  of  Taggia  (Alb.  d' Italia;  omii.  from  San 
Remo,  p.  101)  lies  2  M.  up  the  valley  of  the  river.  Giov.  Dom.  Ruffini 
(1807-81),  poet  and  patriot,  lived  here  from  1875  till  his  death.  The  town 
contains  several  old  patrician  mansions,  and  in  the  church  of  the  Dominican 
convent  are  paintings  of  the  early  Genoese  school. 

Beyond  a  short  tunnel  we  obtain  a  view  (on  the  right)  of  Bussana 
Vecchia  and  Bussaria  Nuova  and  of  Poggio  (p.  103).  Then  a  tunnel 
under  the  Capo  Verde. 

84  M.  San  Bemo.  —  The  Railway  Station  (PI.  C,  4;  Bestauranf)  lies 
on  the  W.  hay,  a  few  hundred  yards  heyond  the  new  town. 

Hotels  &  Pensions.  The  better  houses  have  electric  light;  nearly  all 
have  gardens.  On  the  W.  Bay,  in  an  open  situation,  preferred  by  English 
visitors;  'West  End  Hotel  (PL  g;  A,  4),  Corso  Matuzia,  K.  from  31/2, 
B.  11/2,  de'j.  4-5,  D.  6-8,  bath  3.  pens.  IOV2-2OV2,  omn.  2  fr. ;  «Gk.  Hot. 
RorAL  (PI.  e;  E,  4),  Corso  dell' Imperatrice,  R.  from  iV'i)  B.  I'/z,  de'j.  4, 
I>.  6,  pens.  11-18  fr.  ;  Gband  Hotel  (PI.  b;  B,  4),  Cor.'^o  dell'  Imperatrice, 
R.  410,  B.  IV2,  dOj.  4-5,  D.  6  8,  pens.  10  !8  fr. ;  Continental  Palacb 
(PI.  cp;  A,  4),  Corso  Matuzia,  close  to  the  sea,  H.  3-7,  H.  I1/2,  d.'j.  3V2-l'/2, 
D.  5-7,  pens.  10-15,  omn.  I'/s  fr. ;  Hot.  Imi-Rkial  Kaiseruof  (PI.  h;  A,  4), 

7* 


100    Route  I!).  SAN  REMO.  From  Genoa 

Curso  Matuzia,  E.  31/2-8,  15.  I'/z,  ddj.  4-5,  D.  6-7,  pens.  8-16,  omn.  IV2  fr.; 
Hot.  de  Londues  (PI.  c;  A,  4),  Corso  JIatuzia,  R.  from  3,  B.  11/2,  dej. 
3-31/2,  D.  5-6,  pens.  81/2-I2V2  f r  ,  frequented  by  the  English;  all  these  of 
the  first  class,  with  lifts.  —  ''Hot. -Pens.  Pakauis  et  de  Edssie  (PI.  f; 
B,  4),  Corso  (ieir  Imperatrice,  E.  21/2-4,  B.  I1/2,  doj.  3-4,  D.  4-5,  pens. 
8-11  fr. ;  '^H6t.-Pen8.  Midi,  Corfo  dell'  Imperatrice,  pens.  9-12  fr. ;  "Hot.- 
Pens.  Beaus6jour  (PI.  d;  A,  4),  Corso  Matuzia,  E.  3-5,  B.  11/4,  D.  31/2,  S.  21/2, 
pens.  7-10  fr. ;  Hot.  Bristol  (PI.  i;  B,  4),  Strada  Reyina  Mavgherita,  R. 
from  3,   B.  11/,,   dej.  3,   D.  41/2,   pens,  from  8  fr. ;   Hot.  Pavillon  (PI.  k; 

A,  4),  Corso  Matuzia,  R.  4,  B.  I1/4,  d^-j.  3,  D.  31/2,  pens.  71/2-IO  fr.,  fre- 
quented by  the  English;  Pens.  Villa  Flora.  —  In  the  Strada  BerUio,  in 
an  elevated  situation:  *Gr    Hot.  Savoy  (I'l.  s;  B,  3),  with  lift,  R.  51/2-12, 

B.  V/2,  d(5.i.  4,  D.  6,  pens.  I'iVzlSVa,  oiun.  2  fr.,  first-cla^s ;  Hot.  Bel- 
vedere, Hot.  Bel  Sito  (PI.  y;  B,  3),  Pens.  Bellavista  (PI.  he;  B,  3), 
English  Pension  (PI.  m;  B,  3),  all  quite  English.  —  If^ear  (he  Station  and 
in  Die  New  Toicn:  -Hot.  de  Paris  (PI.  n;  C,  4),  Corso  dell'  Imperatrice, 
with  lift,  R.  4-5,  B.  I1/2,  dej.  3,  D.  4,  pens.  10-12  fr. ;  'Hot.  de  l'Eukopk 
ET  DE  la  Paix  (PI.  a;  C,  4),  with  lift,  R.  3-6,  B.  I1/2,  dei.  3,  D.  41/2,  pens. 
9-14  fr. ;  Hot.  Cosmopolitain  (PI.  z;  C,  4),  Via  Homa,  R.  3-5,  B.  H/4,  dej.  3, 
D.  4,  pens.  8-11  fr.,  well  spoken  of;  Excelsior  Hotel  Milan,  Via  Eoma, 
with  restaurant,  E.  3-4,  B.  11/4,  di'j.  21/2,  D.  31/2,  pens.  7-10  fr. ;  Hotel 
MfeTKOPOLE  &  Terminus  (PI.  o;  C,  4),  Via  Eoma,  with  rest.Turant,  R.  2-3, 
B.  I1/4-IV2,  d(5j.  3,  D.  4,  pens.  6-8  fr. ;  Hot.  Central  (PI.  ce;  C,  .3),  Via 
Andrea  Carli,  with  caf^-restaurant,  recommended  to  passing  tourists,  R. 
from  2'/2,  B.  I1/4,  dej.  3,  D.  3V.'  fr. ;  Hot.  de  la  Reine,  Corso  dell'  Im- 
peratrice, adjoining  the  Giardino  Pubblico;  Hotel  ^^ational,  Via  Vitt. 
Emanuele  1,  R.  21/2-41/2,  B.  li/»,  dt?j.  21/2,  D.  3,  pens.  6-9  fr.,  very  fair;  Hot. 
San  Remo  Molinari,  Via  Roma,  R.  21/2,  D.  8i/2fr. ;  Hot.  de  la  Grande 
Bretagne,  Hot. -Pens.  TJmberto  Primo,  Albergo  Internazionale,  all  three 
in  the  Via  Vitt.  Emanuele,  Italian.  —  On  the  E.  Bay^  in  a  sheltered  and 
quiet  situation:  '^Gkand  Hotel  Bellevde  (PI.  p;  F,  1,  2),  Corso  Felice 
Cavaloiti,  adjoining  the  Villa  Zirio,  with  lift,  R.  from  5,  B.  ii/2,  dej.  4, 
D.  6,  pens,  from  12,  omn.  I1/4  fr.  :,  'Gk.-IIot.  de  la  M6diierran*:e  (PI.  w; 
F,  2),  Corso  Felice  Cavaloiti,  with  lift  and  steam-heating,  R.  4-7,  B.  I1/2, 
dej.  31/2,  D.  5,  pens.  9-16,  omn.  I72  fr.,  well  managed;  "Gr. -Hotel  de 
Nice  (PI.  t;  E,  2),  Corso  Garibaldi,  with  lift,  R.  31/2-Gj  B.  I1/2,  dej.  31/2, 
D.  5,  pens.  9-14  fr.;  all  these  of  the  fir.'t  class.  —  *IIot.  Victoria  et  de 
Rome  (PI.  v;  F,  2),  Corso  Felice  Cavallotti,  with  lift,  R.  3-5,  B.  li/v, 
dej.  3,  D.  41/2-5,  pens,  from  8,  omn.  1  fr. ;  Hot.  Geemania  et  Pens.  Linden- 
HOF  (PI.  r ;  F,  2),  Via  del  Castillo,  near  the  sea,  pens.  8-12  fr. ;  Schweizerhof 
(PI.  u;  E,  2),  CorSd  Garibaldi,  pens.  8-10  fr. ;  Pens.  Villa  Nobel,  Corso 
Cavallotti;  Pens.  Paula  Roberta,  Via  di  Francia  (PI.  D,  E,  2),  quite 
German,  pens.  7-10  fr. ;  Pens,  des  Etrangers,  Corso  Garibaldi;  Jewish 
Pension,  (5or30  Garibaldi  28;   Nisselbacm,  Via  di  Francia,  also  Jewish. 

In  summer  only  the  H6i.  de  Paris,  Bdt.  Cosmopolitain,  Excelsior  Hdiel 
Milan,  H6t.  Mi'tropole,  H8t.  San  Remo  Molinari,  and  Hdi.  Orande  Bretagne 
are  open. 

Apartments  (corap.  pp.  xx,  xxx).  Suites  of  apartments  are  to  be  found 
in  the  Via  Vittorio  Emanuele,  Corso  dell'  Imperatrice,  Via  Feraldi,  Corso 
Garibaldi,  Via  TJmberto,  and  Via  Roma.  Those  in  other  parts  of  the  town 
are  less  desirable,  owing  to  the  coldness  of  the  streets.  Villas  abound; 
rent  for  the  winter  1500-12,000  fr.,  including  furniture  and  other  requisites 
(distinct  bargain  necessary).  Lists  of  apartments  and  villas  at  the  Anglo- 
American  Agency,  the  Agence  Ligurienne,  and  the  Agence  Benecke  et  Heywood, 
all  in  the  Via  Vittorio  Emanuele. 

Cafes  -  Restaurants.  Cafi  Glacier  du  Casino,  in  the  Kursaal  (p.  101); 
Restaurant  Mazar,  Via  Roma,  v/ith  Munich  and  Pilsner  beer,  dej.  21/2, 
D.  31/2  fr.,  incl.  wine  (band  and  varieties  in  the  evening);  '■' Cafi-Reslaurant 
du  Commerce,  in  the  Hot.  Central,  see  above,  'Cafi  Ei/ropt'en,  Via  Vitt. 
Emanuele,  Munich  beer  at  both ;  Vacherie,  Via  Ruffini,  with  garden ;  Maiton 
Dorie,  Via  Umberto,  plain  but  good;  Restaurant  Boinllon-Duval,  in  the  Alb. 
Internazionale  (see  above),  inexpensive.  —  Confectioners.     Thewes,  facing 


tJuuiejJltiS  I 


to  Venlimiglia.  SAN  REMO.  7.9.  Route.    101 

the  Giardino  Pubblico.:  (laspero,  Andry,  <t-  Co.,  Via  Vit.t.  Emanuclc  2i.  — 
Tea-Room.     Alexandra  Tea  Rooms,  Corjo  dell'  Imperatrice. 

Music  in  the  Via  RafOni  (PI.  E,  2)  on  Sun.,  Tues.,  &  Thurs.,  2.30-4  p.m. 

—  Places  of  Entertainment.  Casino  Munic'qjale  (PI.  C,  3),  a  'Kursaal'  iu 
the  former  Giardino  Pubblico,  with  ci  ncert-room,  theatre  (operas  and 
operetta,'!),  reading-room,  and  'Cercle  des  Etrangcrs''  (card  room,  lor  mem- 
bers onlvj;  tlclcet  for  the  day  2  fr.  (also  subscribers);  Teatro  Principe 
Amedeo  (PI.  D,  3). 

Carriages.  Drive  in  the  lower  town  1  fr.,  with  two  horses  l^/z  fr.  (at 
night  11/2  or  2'/2  fr.)  ;  per  hour  2  or  3  fr.  (at  night  3  or  31/2  fr.)  •,  drive 
in  the  upper  town,  IV2,  2,  2,  or  3  fr. ;  per  hour  2V2,  31/2,  3,  or  4  fr.  If 
luggage  over  4i  lbs.,  each  box  1/2  fr-  One-horse  carr.  to  the  Jladonna  della 
Co.sta  2,  landau  for  4  per^.  21/2,  two-horse  carr.  3  fr. ;  to  Madonna  della 
Guardia  7,  8,  or  10  fr. ;  to  Tattgia  or  B.irdighera  8,  10,  or  12  fr. ;  to  Bussaua 
Vecchia,  10,  12,  or  14  fr. ;  to  Ceriana  14,  16,  or  20  fr. ;  to  Dolceacqua 
(p.  106)  15,  17,  or  25  fr.  —  Donkey  to  Poggio  3  fr.,  to  Madonna  della 
Guardia,  Verez/o,  or  Coliirodi  4,  to  Bussaua  Vecchia  6,  tn  San  Romolo 
or  Monte  Bignone  8,  to  Baiardo  10  fr.  —  Boat  per  hour  for  1  person  1  fr., 
for  several  2  fr.  and  fee  (bargaining  advisable). 

Motor  Car  Company,  Sociita  Oenerale  Esercizi  con  AutomohiU  (p.  130), 
opposite  the  railway-station. 

Omnibus  through  the  town  every  ^jth-T.  (10  c.) ;  from  Piazza  Colombo 
to  Tag<jia  13  times  daily  (50  c),  to  Ceriana  twice  daily  (1  fr.),  to  Ospedaletti 
8  limes  daily  (30  c),  to  Burdighera  twice  daily  (60  c.). 

Post  and  Telegraph  Office  (PI.  D,  3),  Via  Roma,  in  the  Casa  Picconi; 
open  S  a.m.  to  8  p.m.  (telegraph-office  till  9  p.m.  and  till  midnight  from 
Dec.  Ist  til  April  30th);  branch-office  at  Corso  Garibaldi  8. 

Bankers.  Benecke  et  Heywood  (see  p.  100);  Frat.  Asquasciati;  Rubino; 
ifombello,  Dehraud,  ct  Co.;  Agence  Congreve,  all  in  the  Via  Vitt.  Emanuele; 
Garibaldi  &  Co.,  Cor.o  dell'  Imperatrice  5. 

Tourist  Agents.  T/iOs.  Cook  d:  Son,  Via  Vitt.  Emanuele  17;  Agence 
Benecke  et  Ueijwood  (see  p.  100),  for  the  International  Sleeping-Car  Co.  and 
the  North  German  I.lojd;  C.  Slefano,  Via  Roma,  for  the  Hamburg- America 
1  ine  (p.  9i). 

Shops.  Booksellers:  Diemer,  Corso  Garibaldi  30;  Bramke  <£•  Gandolfo, 
Corso  deir  Imperatrice  7;  P/yffer  (alfo  photogriipbs).  Via  Vitt.  Emanuele  28. 

—  Among  the  specialties  of  the  place  are  inlaid  wood  (Anfossi,  Di  Leva, 
Via  Vitt.  Emanuele)  and  the  perfumes  manufactured  by  Aicardi. 

Physicians.  English,  Dr.  Freeman,  Villa  delle  Palme;  Dr.  Foster,  Villa 
I.ambeiti ;  Dr.  Blackie- Smith,  Villa  Victoria;  Dr.  Hort,  Villa  Primavera; 
Dr.  Crichton- Miller,  Via  Vitt.  Emanuele  18;  Dr.  Lillie,  II  Bel  Soggiorno, 
Berigo.  German,  Drs.  Baur,  Burwinkel.  Dresdner,  Krebber,  Kuckein,  Laudien, 
Pohl,  Prager,  Stern,  and  Waterman;  Italian,  Drs.  Bobone,  Marlinucci,  Ameglio, 
and  Ansaldi.  —  Dentists:  Whiting,  Via  Vitt.  Emanuele  19;  Martini,  Via 
Francia;  Powers,  Via  Asquasciati  1;  Armaldi,  Via  Privata.  —  Chemists. 
Squire,  Via  Vittorio  Emanuele  17;  Peinemann  &  Wiedemann,  Via  Vitt. 
Emanuele  10  (PI.  Ap.;  C  3),  undertake  chemical  and  microscopical  analyses; 
Jordan.  Via  Vitt.  Emanuele  27.  —  Sanatorium  Columbia  (Dr.  Waterman), 
Villa  Ferrari.  —  German  Hospital,  Via  Wolfango  Goethe  (PI.  D  K;  F,  1).  — 
Baths  in  the  Via  Privata  and  in  the  Slabilimento  dei  Bayni  di  Mare  (Pl.B,  2), 
Passeggiata  Imperatnre  Federico. 

British  Vice-Consul,  Meysey  Turton,  Esq.  —  American  Consular  Agent, 
St.  Leger  A.  Touhaii,  Esq. 

English  Churches  (.services  at  11  &  3  from  Oct.  to  May).  St.  John  the 
Baptist's  (PI.  v.,  4),  Via  Roma;  chaplain,  Rev.  C.  H.  Ptlly,  Pens.  Bella  Vista. 

—  All  Saints''  (PI.  B,  4),  Corso  deir  Imperatrice;  chaplain,  Rev.  C.  Daniel, 
Villa  San  Giorgio.  —  Presbyterian  Church  (PI.  C,  4;  services  at  11  &  3), 
Corso  deir  Imperatrice  4;  minister,  Rev.  Dr.  Cunningham,  Hotel  de  la  Reine. 

Golf  links  (9  holes)  at.4rma  di  Taggia,  near  Taggia  (see  p.  99  and  above). 

Climate.    San   Kemn   is  sheltered   by  an   unbroken   semicircular   hill 

rising    from    the   Capo  Nero  to    the  Piano  Ccirparo  (2955  ft.),    culminating 


102     Route  19.  SAN  REMQ.  From  Genoa 

in  the  Monte  Caggio  (3575  ft.)  and  Monte  Bignone  (4260  ft.),  and  descend- 
ing thence  to  the  Capo  Verde.,  its  summit  being  nowhere  move  than  4  M, 
distant  in  a  straight  line.  The  N.  winds  are,  therefore,  entirely  excluded 
from  this  favoured  spot,  especially  as  a  double  range  of  Alps  rises  behind 
the  town  a  little  farther  back,  while  the  force  of  the  E.  and  W.  winds 
is  much  broken.  Violent  E.  winds,  however,  frequently  occur  at  the  end 
of  February  and  the  beginning  of  March,  and  the  'Mistral'  is  also  an  un- 
welcome visitor  at  this  season.  —  To  consumptive  and  bronchial  patients 
the  E.  bay  is  recommended  on  account  of  its  sheltered  situation  and  humid 
atmosphere,  while  suft'erers  from  nervous  and  liver  complaints  will  find 
the  dry  and  stimulating  air  of  the  W.  bay  more  beneficial.  —  The  mean 
tcjperature  of  the  three  winter  months  is  51°  Fahr. 

San  Remo,  a  town  of  20,000  inhal).,  lies  in  the  middle  of  a 
beautiful  bay,  5'/2  ^-  wide,  embosomed  in  olive-groves  that  cover 
the  valleys  ai\d  lower  slopes  and  give  place  higher  up  to  pines  and 
other  coniferaj.    It  has  been  a  health-resort  since  1861. 

The  crowded  houses  of  the  old  town  (La  Pigna),  with  the  church 
of  San  Siro  founded  in  the  12th  cent.,  occupy  a  steep  hill  between 
the  short  valleys  of  the  Torrenie  del  Convento  and  the  Torrente  di 
San  Romolo.  A  smaller  quarter  named  Castigliuoli  lies  to  the  W.  of 
the  latter  stream.  These  older  parts  of  the  town  consist  of  a  curious 
labyrinth  of  narrow  lanes,  flights  of  steps,  archways,  lofty  and 
sombre  houses,  and  mouldering  walls.  The  arches  which  connect 
the  houses  high  above  the  streets  are  intended  to  give  them  stability 
in  case  of  earthquakes.  Vines  are  frequently  seen  clambering  up 
the  houses  and  putting  forth  their  tendrils  and  leaves  on  the  top- 
most stories. 

The  new  town  occupies  the  alluvial  land  at  the  foot  of  the  hill. 
The  long  Via  Viltorio  Emanuele  (Pi.  C,  D,  3),  with  its  numerous 
shops,  is  the  chief  centre  of  traffic.  No.  24  in  this  street,  the  Palazzo 
Borea  d'Olnto  (15th  cent.),  possesses  a  flue  staircase.  —  To  the 
S.E.  is  the  fort  oi  Santa  Tecla  (PI.  D,  3,  4;  now  a  prison),  constructed 
by  the  Genoese  to  defend  the  small  harbour,  which  is  sheltered  by 
a  breakwater  1300  ft.  in  length.  A  survey  from  the  parapet  of  this 
Molo  will  convey  an  idea  of  the  sheltered  position  of  San  Remo. 

The  Via  Vitt.  Emanuele  leads  past  the  Casino  Municipale  (^Kur- 
saal;  PI.  C,  3;  p.  101),  erected  in  1904-5  by  Ferret,  to  the  *Corso 
dell'  Imperatricb  (PI.  B,  C,  4),  on  the  W.  bay,  which  is  planted 
with  palms  and  provided  with  benches.  This  magnificent  promen- 
ade, the  favourite  winter-resort  of  the  visitor,  skirts  the  railway  and 
the  sea,  terminating  towards  the  W,  in  the  beautiful  Giardino  delV 
Imperatrice  (PI.  A,  B,  4),  laid  out,  like  the  Corso  itself,  at  the  ex- 
pense of  the  Empress  Maria  Alexandrowna  of  Russia  (d.  1880). 
Beyond  the  garden  the  promenade  is  continued  by  the  Corso  Matuzia 
and  the  Corso  Ponente  (PL  A,  4),  ending  at  the  cemetery. 

The  main  thoroughfare  of  the  quarters  on  the  E.  bay  is  formed 
by  the  Corso  Garibaldi  (PI.  D,  E,  2)  and  its  E.  prolongation,  the 
Corso  Felice  Cavallotti(F\.E,F, 2).  A  little  above  the  latter,  next  to 
the  Bellevue  Hotel,  is  the  Villa  Villeneuve  or  Zirio  (no  admission), 
where  the  dying  German  Crown  Prince  Frederick  William  resided 


to  Ventimiglia.  OSPEDALETTI.  19.  Route.     103 

from  Nov.,  1887,  to  March,  1888.  —  The  chief  promenades  in  this 
quarter  are  the  high-lying  Via  Wolfunyo  Goelhe  (PI.  E,  F,  2, 1)  and 
the  quiet  Passeggiata  lynperaiore  Federico  (PI.  E,  F,  2),  by  the  sea. 

A  deliglitful  drive  (tariff,  see  p.  101)  is  afforded  by  the  *Steai>a 
Bbbi'oo  or  CoRso  degli  Inglesi  (PI.  A,  B,  C,  4-2),  which  diverges 
to  the  N.W.  from  the  Corse  Matuzia  and  ascends  the  valley  of  the 
Torrente  dtlla  Face.  It  then  turns  to  the  E.  and,  flanked  by  beautiful 
gardens,  winds  along  the  hillside.  A  little  below  the  road  is  the  fine 
palm-garden  of  the  *  Villa  Parva  (PI.  B,  3 ;  Baroness  von  Hiittner), 
to  which  visitors  are  admitt?d  on  Wed.  &  Sat.,  10-12  and  2-4  (1  fr., 
for  charitable  purposes). 

The  Via  Borgo,  the  N.  prolongation  of  the  Strada  Berigo,  runs 
up  one  side  and  down  the  other  of  the  Komolo  valley,  passing  the 
Madonna  del  Borgo  (PI.  B,  1).  It  then  runs  to  the  S.E.  to  the  white 
dome-covered  church  of  Madonna  della  Costa  (PI.  C,  2 j,  which  is 
perched  on  the  top  of  the  MB  as  the  keystone  of  the  old  town.  The 
church  is  approached  by  alleys  of  cypresses  and,  like  the  Giardino 
Reyina  Elena,  beside  the  large  Hospital  (PI.  C,  2J,  commands  a  fine 
view  of  bay  and  mountain. 

From  the  Madonna  della  Costa  the  sheltered  Via  Barragallo 
(PI.  C,  D,  l,2)descendscircuitously  to  the  Viadi  Francia(P\.  D,E,2). 

Excursions.  A  beautiful  and  easily  reached  point  of  view  is  the  (1  hr.) 
'  Madonna  della  Guardia  (370  ft.-,  restaurant)  on  Capo  Verde  (hest  view  in 
the  morning;  carr.,  see  p.  101).  The  ascent  begins  at  the  Dazio  Comunale, 
about  IV*  M.  to  the  E.  of  San  Remo.  The  return  from  the  church  may 
be  made  by  Poggio  (Alb-rgo  Po;;2io,  etc.),  a  villai^e  noted  for  its  wine. 
The  be.st  view  is  obtained  from  near  the  old  tower  above  the  village.  — 
To  Bussana  VecchUi  or  to  Taggia,  see  p.  lul.  —  A  good  road  (omn.,  see 
p.  101)  leads  via  Poggio  to  the  (8V2  M  )  picturesiiue  hill-town  of  Ceriana 
(1210  ft. ;  inn).  —  A  road  leads  through  the  charming  valley  of  San  Martino 
to  the  (2'/-.i  hrs.)  prettily  situated  Verezzo,  with  the  churches  of  San  Donato 
and  Sant'  Antonio.  —  To  San  Romolo  ('25S0  ft.),  a  former  hermitage,  with 
line  chestnut  woods  aud  villas,  in  the  »ipper  valley  o!  San  Romolo,  a 
donkov-ride  of  'J^j-z  hrs.  f6  fr.).  This  excursion  may  be  continued  via  the 
Colle  dvi  Termini  (3105  ft.)  to  the  (I'/a  hr.)  'Monte  Bignone  (4260  ft. ;  pano- 
rama of  the  .lea  with  Corsica  to  the  S.  and  the  Maritime  Alps  to  the  N.). 
Kich  (lura  (rhuiiudendrons).  From  the  pass  a  bridle-patU  descends  to  the 
N.W.,  via  the  Piano  del  Be,  to  the  well-situated  village  ct(  Baiardo  (2950  ft.-, 
two  inns),  whence  we  may  return  to  San  Kenio  via  Ceriana  (see  above). 
Another  pleasant  extension  of  the  excursion  from  San  Romolo  is  that  via 
the  Monte  Caggio  (3575  ft.)  and  the  villages  of  Sehorga  and  Sasso  (p.  106) 
to  Bordiijhera  tp.  104).  —  To  Coldirodi  (p.  104)  by  Uspedaletti  2  hrs. ;  or 
direct,  by  a  very  ancient  road,  1  hr.  —  Via  Ospedaletti  to  (2'/2  hrs.) 
Bordig/iera  (omn.,  see  p.  101). 

The  train  passes  through  a  tunnel  UTider  Capo  Nero,  while  the 
road  winds  round  the  promontory  high  above  the  sea. 

87  M.  Ospedaletti.  —  Hotels.  *Gr.  Hotel  de  la  Reine,  with  lift, 
R.  from  4,  B.  IV2,  dci.  4,  I).  5,  pens,  from  8,  omn.  1  fr.  -,  Hot. -Pens.  Sdissk, 
R.  2^/i-i,  B.  I'A',  d^U-'3,  D.  4,  pens.  7-12,  omn.  1  fr. ;  'Hot.  Rotal,  R.  2'/2-3, 
B.  I'/j,  dej.  3,  D.  4,  pens.  8-10  fr.,  patronized  by  the  English  (not  adapted 
for  invalids);  Hot.-Pens.  M£tbopole,  very  fair,  R.  3,  B.  l^/i.  dej.  2V2,  E>.  31/2, 
pens.  6-9  fr. ;  Hot.-Pkss.  Riviera,  pens,  from  6  fr. ;  Alb.  d'Italia.  —  Also 
Private  Apartments.  —  English  Church  Service  in  winter  in  the  Hot.  Suisse.  — 
Physicians,  Dr.  Enderlin ;  hr.  Hmjueniu;  Dr.  Osier,  and  others.  —  Visitor's 


104    RoiUe  19.  BORDIGHERA.  From  Genoa 

Tax  I'/'j  fr.  per  week.  —  Concerts  in  the  Casino  (witb  restanrant  and  reading- 
room)  on  Won.  and  Frid.,  2.30-4.30  p.m.  —  Post  (fc  Telegraph  Office  next 
the  Hot.  Metropole.  —  Omnibus  to  San  Remo  and  Kordighera,  see  p.  101. 

Above  the  little  flshing- port  of  Ospedaletti  a  wLiiter- resort 
(100  ft.)  was  laid  out  in  188'2  at  great  expense,  in  a  sheltered  and 
most  favourable  situation,  with  walks  free  from  dust.  Ospedaletti 
is  one  of  the  chief  flower-markets  in  the  liiviera ;  visits  should  be 
paid  to  the  Pepinitre  in  the  Via  Garibaldi,  above  the  town,  and 
to  the  Giunchelto  (venerable  palms),  on  the  Bordighera  road. 

From  Ospedaletti  a  mule-track  (8/4  hr.)  and  a  road  diverging  at 
Capo  Nero  lead  to  the  little  town  of  Coldirodi  or  Colla  (830  ft. ;  Cafe- 
Restaurant  des  Etraugers;  Caffe-Ristorante  della  Biblioteca),  the 
town-hall  of  which  contains  a  library  and  an  inconsiderable  picture- 
gallery  (adm.  50  c).    Fine  view  near  the  cemetery. 

90 1/2  M.  Bordighera.  —  Hotels  and  Pensions  (largely  patronized  l)y 
the  English).  On  the  Strada  Romana  (p.  105),  in  a  sheltered  situation: 
"Grand  Hotel  du  Cap  Ami'Ei:lio  (PI.  fi)i  with  magnificent  view,  R.  from  5, 
B.  2,  dej.  4-5,  D.  5  6,  pens.  12-18  fr. ;  -Hut.  Angst  (PI.  a),  with  fine  garden, 
R.  from  4V2,  B.  IV2,  dej.  31/2-4,  D.  5  6,  pens.  10-18  fr. ;  "Hotel  Royal  (PI.  r), 
R.  4-8,  B.  IV-j,  dej.  31/2,  D.  5,  pens.  10-17  fr.;  Hot.  Hesperia  (PI.  0),  R. 
from  4,  B.  11/2,  dej.  31/2,  D.  5,  pen^.  from  10  Ir.,  new,  all  these  with  lift 
and  steam-heating;  •■Hotel  BELVfiDfiKE  (PI.  s),  R.  5-6,  E.  IV2,  dej.  3,  D.  5, 
pens.  9-15  fr. ;  Hotel  de  Londres  (PI.  c),  English  ;  Pens.  Villa  Constantia 
IPI.  d),  with  steam -heating,  pens.  71/2-101/2  fr.,  very  fair;  Hotel  Bella 
Vista  et  Bellevue  (PI.  e),  R,  31/2-6,  B.  IV4,  dej.  3,  D.  4,  pens.  811  fr.  — 
In  the  Via  Vittorio  Emanuele:  -Gr.  Hotel  des  Iles  Bbitanniqdes  (PI.  h), 
R.  3-6,  B.  IV2,  dej.  3,  D.  4,  pens.  8-12  fr. ;  "Hotel  d'Angletekee  (PI.  f), 
R.  21/2  5,  B.  11/2,  dej.  3,  D.  4,  pens.  7-12  fr.  ;  "^Park  Hotel  (PI.  g),  R.  from  3, 
B.  11/2,  dej.  31/2,  D.  4,  pens.  8-10  fr.,  all  three  with  gardens;  Hot.  Windsor 
ET  Beau  Rivage,  on  the  beach,  ^ji  M.  to  the  W.  of  the  station,  R  4-7, 
dej.  21/2,  D.  4,  pens.  7-10  fr.,  very  fair;  Hot.  Cosjiopolitain  (PI.  m),  at  the 
station,  with  restaurant;  Pens,  des  Oliviers  (PI.  i);  Hut. -Pens,  de  la 
Reine  (PI.  t),  from  7  fr.  —  In  the  Via  Imperatrice  Federico:  -Hot.  Victoria 
(PI.  n),  R.  3-6,  B.  11/2,  dej.  3,  D.  41/2,  peas.  7-10  fr. ;  Hot.-Pens.  .Savoy  (PI.  1), 
R.  from  4,  B.  I1/2,  dej.  21/2,  D.  4,  pens,  from  8  fr. ;  Hot.  Bordighera  et 
Terminus  (PI.  h),  R.  21/2-3,  B.  I1/2,  dej.  2V2-3,  D.  3V2-4,  pens.  7-8  fr. ;  Pens. 
Riviera- Hotel.  —  In  the  Via  Regina  Mar^jherita:  Pens.  Jolie  (PI.  k), 
pens.  6-8  fr.,  very  fair;  Pens.  Puilipp  (PI.  p).  —  In  the  Strada  dei  Colli, 
to  the  N.E. :  Hut.  Bristol,  pens.  71/2-91/2  fr.,  English. 

In  summer  only  the  H6iel  Windsor  and  the  Pensions  des  Oliviers  and 
Jolie  are  open. 

Kestaurants.  Faisan  Dore  (rooms),  Via  Imperatrice  Federico  (Munich 
beer);  Caffh-Ristorante  Ligure;  Caffi  delta  Stazione.  —  Cafe  &  Confectioner. 
'■'Serger,  Via  Vitt.  Emanuele.  —  Tea  Koom.  Bordighera  Tea  Rooms,  Via 
Bischoffsheim. 

Physicians:  Dr.Hulibard,  Dr.  Boyle,  Dr.  Hamilton  (English);  Dr.  Ilerschel, 
Dr.  Lewinsohn,  Dr.  Piper,  Dr.  Hiinel  (German);  Dr.  Agnetti,  Dr.  Odelli, 
Dr.  Boggio,  Dr.  Ammirati  (Italian).  —  Dentists:  Saltarelli,  Viviani.  — 
Chemists :   Calvauna,  Tassarotii,  Molinari. 

English  Church:  All  Saints\  Via  Bischoffsheim,  services  from  Oct.  to 
May  at  S,  10.30,  and  3;  chaplain,  Rev.  Canon  Arthur  T.  Bamett,  M.A. 

Post  &  Telegraph  Office,  Via  Vittorio  Emanuele,  open  8-12.30  and 
2-8.30. 

British  Vice-Consul,  E.  E.  Berry,  Esq.  —  Bankers:  Giribaldi;  The  Bank 
(also  money-changer's);  Berry,  Casa  Balestra  (Engl.  Banker);  the  last  two 
are  at.»o  agents  for  furnished  apartments. 

Palms  &  Flowers  at  L.    }Vinter''s,  Via  Viltorio  Emiinuele. 


•  ffi  -  SV    «.  O "  (g*.  f  '.  *  V  »S  «  i  ^      ,    '  V 


■WKoS: 


to  Ventimiglia.  BORDIGHERA.  19.  Route.    105 

Cabs  (for  1  or  2  pers.):  per  drive  1,  with  two  horses  IV2  fr. ;  per 
hour  2,  3  fr. ;  each  oddit.  pers.  2d  c.  more;  to  Ospedaletti  4  or  7  fr.,  to  Col- 
dirodi  12  or  18  fr. ;  to  Perinaklo  18  or  30  fr. 

Omnibus  via  Ospedaletti  to  San  Remo,  see  p.  101 ;  to  Vallebona  twice, 
and  to  Soldano  once  daily.  —  Electric  Tramway  from  the  Piazza  Mazzini 
by  the  Via  Vitt.  Eman.  to  Ventimiglia  (p.  106),  every  V-<"V2  ^^-  i"  winter 
(50  or  30  c). 

Climate.  The  strangers'  quarter  is  formed  by  the  Strada  Romana,  now 
converted  into  a  wide  and  dust-free  promenade  running  along  the  slope 
through  groves  of  pine  and  olive.  Only  its  E.  end  is  fairly  sheltered,  the 
rest  being  expo.sed  to  the  dry  coast-winds.  Serious  cases  of  illness  are 
therefore  not  usually  sent  to  Bordighera,  which,  in  contrast  to  the  other 
Riviera  stations,  is  frequented  mainly  by  convalescents  and  tourists.  — 
The  temperature  in  winter  is  lov/er  than  at  San  Uemo  and  Ospediletti. 

Bordighera  { 3900  iiihab.),  first  brought  into  general  notice  by 
Rufflni's  novel  'Dr.  Antonio',  consists  of  an  old  upper  quarter,  on 
the  higher  ground  of  the  Capo  Sunt'  Ampeglio,  and  a  new  lower 
quarter  between  the  coast-road  (here  named  Via  Vittorio  Emanuele) 
and  the  Strada  Romana.  The  Passegyiata  a  Mare,  a  picturesque 
coast-promenade  free  from  dust,  extends  westwards  from  the  foot 
of  the  rocky  cape. 

From  the  Via  Vittorio  Emanuele,  in  which  aretlie  station  and  the 
Chiesa  di  Terrasanta,  built  by  Gamier,  the  Via  Imperatrice  Federico 
and  othfir  cross-streets  ascend  to  the  Strada  Romana  (the  ancient 
Via  Aurelia^,  wliich  ends  on  the  W.  at  the  Borghetto  brook.  This 
fine  road  affords  charming  views  of  the  palm-gardens  of  the  Hotel 
Angst  and  the  Villa  Etelinda (hnilt  by  Gamier).  On  its  S.  side,  below 
the  Hotel  de  I.ondres,  is  the  Museum,  or  International  Free  Library, 
founded  by  Mr.  Bicknell  and  containing  a  reading-room,  a  concert- 
hall,  a  library,  a  unique  collection  of  the  flora  of  the  Riviera,  a 
collection  of  minerals,  and  an  archaeological  collection  (including 
fragments  and  casts  of  the  rock-inscriptions  mentioned  at  p.  48). 
—  A  magnificent  *View  is  obtained  from  the  Spianata  del  Capo.,  on 
the  top  of  the  promontory,  at  the  E.  end  of  the  road:  to  the  left,  the 
bay  of  Ospf'daletti;  to  the  right,  Ventimiglia,  Mentone,  Cap  Martin, 
Monaco,  the  Monts  Esterel,  and  the  snow-flecked  Alpes  Maritimes. 

Another  pleasant  walk  is  afl'orded  by  the  Strada  dei  Colli,  to  the 
N.  of  the  old  town.  At  the  end  of  the  road,  immediately  beyond 
the  Villa  Biancheri,  a  footpath  leads  to  the  left  to  the  Torre  dei 
Mostaccini  (676  it.),  a  good  view-point  (key  kept  by  Arvocato 
Cabagni,  Via  Vittorio  Emanuele). 

Bordighera  is  famous  for  its  floriculture  (roses,  carnations,  ane- 
mones, etc.),  which  partly  supplants  olive-growing,  and  for  its 
date-palms  (Phoenix  dactylifera),  of  which,  however,  the  fruit  seldom 
ripens  sufficiently  to  be  edible.  Like  Elche  (see  Baedeker's  Spain) 
Bordighera  does  a  large  business  in  supplying  palm-branches  to 
Roman  Catholic  churches  for  Palm  Sunday  and  to  Jewish  com- 
munities for  the  Feast  of  Tabernacles.  For  the  former  purpose  the 
leaves  are  bleached  on  the  trees  by  being  tightly  bound  up.  —  The 
linest  palms  are  seen  in  the  above-named  gardens,  in  that  of  the 


106    Route  19.  VENTIMIGLIA. 

Villa  Oarnier  (to  the  E.  of  the  town),  at  Winter's  Vallone  Garden, 
3/4  M.  to  the  E.,  near  the  Sasso  hridge,  and  in  the  *  Madonna  Garden 
at  Ruota,  ^/^  M.  beyond  the  bridge,  belonging  to  the  same  owner  and 
containing  the  celebrated  Scheffel  Palms  (open  at  all  hours). 

From  the  Vallone  Garden  we  may  ascend  the  Valley  of  the  l^asso  (in 
dry  weather)  to  the  (1  M.)  Aqueduct.,  follow  it  for  ^^'4  jM.  ;iuil  reliiru  thence 
t^)  (I1/4  M.)  Bordighera  along  the  conduit. 

Excursions:  from  Old  Bordighera  by  foot  and  bridle  paths  through 
beautiful  olive-groves  to  (»/4  hr.)  Sasto  (725  ft);  thence  via  Seborga  (1695  fl.), 
formerly  the  mint  of  the  abbots  of  Lerins,  to  the  Monte  Caggio  and  to  Sun 
Bomolo,  see  p.  103.  —  To  (21/4  M-;  omn.  see  p.  105)  Vallebonu  via  BorgheUo. 
—  Through  the  Yallecrosia  Valley.,  via  Vallecrotia,  San  Biayio  della  Cimu, 
and  Soldano  (omn.  see  p.  105),  to  (3'/2-4  hrs.)  Perinaldo  (1895  It  ;  inn;  omn. 
to  Ventiniiglia  see  below),  a  village  commanding  beautiful  views  and  the 
birthplace  of  the  astrfmonier  Giov.  Doui.  Cassini  (1625-1712).  —  The  ascent 
of  the  "Cima  di  Santa  Croce  (1160  ft.)  is  highly  attractive.  Krom  the  tram- 
way-station at  the  foot  of  the  valley  of  Vallecrosia  a  marked  footpath  as- 
cend.s  through  wood  to  the  (ca.  1  hr.)  chapel  on  the  summit  (magnificent 
view).  We  may  return  by  a  steep  path  to  the  N.  to  San  Biagio  or  to  Dol- 
ceacqua.  —  From  the  tramway-station  of  Ponte  Nervia  (see  below),  in  the 
Nervia  valley,  we  may  proceed  via  (I3/4  M.)  Cainporosso  to  (I'/'j  SI.)  Dol- 
ceacqua  (165  ft. ;  three  inns),  with  the  ruined  ancestral  castle  of  the  IJoria.s 
of  Gem  a  (p.  79).  Thence  we  go  on  via  (7M.)  Isolabona  to  (IIV2  M.)  Pigna 
(1015  ft. ;  Hot.  de  France ;  Hot.  Umberto  I. ;  omn.  to  Ventigmiglia,  see  below), 
the  parish  church  of  which  has  a  winged  altar  of  the  16th  century.  In 
the  miaous  chapel  of  San  Bernaj'do  are  some  interesting  frescoes.  —  To 
Coldirodi  via  (81/2  M.)  Ospedalelti,  see  p.  104. 

921/2  M.  Vallecrosia,  situated  at  the  mouth  of  the  valley  of  that 
name  on  the  Piani  di  Vallecrosia  (views),  is  the  station  for  the  above- 
mentioned  village  of  Vallecrosm.  To  the  right  of  the  line  we  pass 
the  Protestant  school  of  Vallecrosia  (shown  to  visitors  on  Mon.,  Wed., 
&  Thurs.).  Crossing  the  Nervia,  we  obtain  a  glimpse  of  the  Mari- 
time Alps ;  on  the  left,  at  Ponte  Nervia,  are  scanty  remains  of  a 
Koman  settlement  with  a  theatre. 

94  M.  Ventimiglia.  —  Hotels.  Hot.  Malson  Dokee,  with  restau- 
rant; Hot.  Suisse  et  Terminus,  R.  2V2,  dej.  2V2,  B.  3  fr  ,  incl.  wine, 
well  ,<poken  of;  Alberuo  IIistok.\nte  Toenaghi,  all  near  the  station.  — 
Cafi  de  Paris,  Via  Principe  Amedeo.  —  Money  Changers  at  the  rail, 
station.  —  Goods  Agents,  Fratelli  Oondrand.  —  Electric  Tramway  to 
Bordighera,  see  p.  105.  —  Omnibus  to  Perinaldo  once,  to  Pigna  twice  daily.  — 
One-hokse  Carriage  per  drive  1  fr.  (stand  at  the  rail,  station). 

Ventirniglia  (45  ft. ;  Fr.  Vintimille^,  the  Roman  Allium  Inte- 
melium,  the  Italian  frontier- town,  with  7300inhab.  and  the  seat  of 
a  bishop,  consists  of  the  industrial  new  town,  in  an  exposed  (N. 
wind)  situation  between  the  station  and  the  sea,  and  the  pictur- 
esque old  town  on  a  hill  to  the  W.  of  the  Roia.  In'  the  old  town  is 
the  Municipio,  containing  a  small  collection  of  Roman  antiquities 
from  Ponte  Nervia  (see  above).  The  Cathedral,  near  which  is  a 
Baptistery  (partly  of  very  ancient  date),  and  the  Romanesque  church 
oi  San  Michele  are  interesting;  the  columns  of  the  latter  bear  Roman 
inscriptions.  About  1/2  M.  to  the  W.  lies  the  picturesque  Porta 
Canarda.  Above  the  isolated  tower-like  rock  (8coglio  alto)  on  the 
beach  rises  the  former  Citadel  (now  barracks). 


,^£j 


NERVI.  20.  Route.    107 

Fine  views  arc  obtained  from  tlift  rained  Genoese  fort  of  San  Paolo 
(535  ft.)  20  rain,  above  the  old  town,  and  from  the  (1  hr.)  ruined  Castello 
(TAppio  (1130  ft.).  To  the  'N.W.  of  the  latter  ;ire  the  so-called  Calandre  or 
Calandrie,  a  depressiini  with  earth-pyramids.  —  To  the  Val  Nervia  see  p.  lOB. 

From  Ventiuiielia  to  Mentone,  Monte  Carlo,  and  Nice,  sec  Baedeker's 
Southern  France.  On  tlie  Mentone  road,  within  Italy,  is  (2V2  M.)  M6rtola, 
with  the  "(iarden  of  Sir  Thomas  Ilaubury,  the  most  luxuriant  on  the  Uiviera 
(adni.  on  Mon.  &  Frid.  afternoon,  fee  1  fr.,  for  the  benefit  of  the  poor;  visitor.-^ 
inscribe  their  names).  —  From  Ventimiglia  to  Tenda  (for  Cuneo  and  Turin), 
see  K.  y. 

20 .  From  Genoa  to  Pisa.    Riviera  di  Levante. 

10'2'/'j  M.  Railwat.  'Train  de  luxe'  (Paris  to  Rome,  p.  1)  in  ca.  4  hrs. 
(fare  28  fr.  50  c);  fast  express  in  3^/4  and  express  in  41/4-4Vj  hrs.  (21  fr.  10, 
14  fr.  75  c.t;  ordinary  train  in  6  7  hrs.  (.19  fr.  15,  13  fr.  40,  8  fr.  65  c).  The 
trains  Start  from  the  Staziona  Piazza  Principe  (local  trains  to  Chiavari  also 
from  the  Stazione  Orientate;  comp.  the  time-tables).  Tickets  to  AVrut,  Papallo, 
etc..  by  the  fast  express  are  issued  only  as  extensions  of  tickets  to  Genoa, 
on  application  bein;;  made  to  the  'ControUore'  or  to  the  station-master 
immediately  on  the  traveller's  arrival  in  Genoa.  Local  passengers  from 
Genoa  with  tickets  for  stations  short  of  Chiavari  (San  Pier  d'Arena  in  the 
opposite  direction)  are  not  allowed  to  travel  by  the  express  trains.  —  For 
the  sake  of  the  view,  seats  should  be  taken  on  the  right  side  of  the  carriage. 
Between  Nervi  and  Spezia  the  view  is  much  interrupted  by  the  numerous 
tunnels.  It  is  dangerous  to  lean  out  of  the  carriage-window.  — ■  Electric 
Tramway  (No.  8)  to  Nervi,  see  p.  77. 

Genoa,  p.  75.  On  leaving  the  Stazione  Piazza  Principe,  the  train 
passes  through  a  long  tunnel  (4-5  min.). 

2  M.  Stazione  di  Brignole  or  Stazione  Orientate.  To  the  left  we 
obtain  a  view  of  the  fortress-crowned  heights  around  Genoa. 

On  the  Uiviera  di  Levante,  or  coast  to  the  E.  of  Genoa,  the 
vegetation  is  less  luxuriant  than  on  the  Riviera  di  Ponente  (p.  94), 
but  the  scenery  is  almost  more  striking.  The  line  is  carried  through 
numerous  cuttings  ami  more  than  eighty  tunnels.  The  villages  have 
narrow  streets  and  lofty  houses,  closely  built  on  the  narrow  sea-board 
or  in  conlined  valleys,  and  mostly  painted  externally  as  at  Genoa. 

The  train  crosses  the  insignificant  Bisagno,  and  passes  under 
the  Collinn  d'Allx'iro  (p.  93 )  by  means  of  a  tunnel.  41/0  M.  Sturla 
(Gr.  Hot.  Sturla,  dej.  21/21  D.  8^/2,  pens,  from  7  fr.,  incl.  wine),  with 
good  sea-baths  (asient  of  Monte  Fasce,  see  p.  109).  To  the  right,  the 
Mediterranean;  to  the  left,  the  olive-clad  slopt^s  of  the  Apennines, 
sprinkh^d  with  country-houses.  —  5  M.  Quarto  at  Mare  (p.  93).  — 
0  M.  (Jainto  at  Mare  (Hot.  Quinto,  on  the  sea,  with  steam-heating, 
view-terrace,  and  sea-baths,  K.  from  3,  B.  1,  dej.  21/2,  !*■  •'^V-'  ps"s. 
7-9  fr.,  incl.  wine,  Italian,  very  fair;  Hot.-Pens.  Beau-Sejour,  dej.2, 
D.  3,  pens,  from  5  fr.,  incl.  wine),  with  numerous  factories,  a  pretty 
Giardino  Pubblico,  handsome  villas,  dense  lemon-groves,  and  line 
palm-trees.  In  the  foreground  rises  the  promontory  of  Portof.no 
(p.  109). 

71/2  M.  Nervi.  —  Hotels  (comp.  p.  xix;  with  steam -healing  and 
gardens).  Euen  Hotici.,  a  large  house  on  the  hill  above  the  town,  with 
lift  and  garden  stretching'  to  the  sea,  H.  3V2-12,  B.  1'/'-',  'i'^.i-  3'/-.!,  1>.  4>/2, 
pens.  9-18  (L.  extra),    hath  3,   omu.    i'/a  fr.;    'Gkanu   Hotkl,    in  the  main 


108    Route  20.  NERVI.  From  Genoa 

street,  adjoining  the  park  of  Marchese  Gropallo  (p.  109),  with  lift,  R.  3'/2-S, 
B.  l'/2)  dej.  3,  D.  5,  pens.  8-15  (L.  extra),  omn.  1  Ir. -,  *H6t.-Pen3.  Victoria, 
near  the  station  and  the  sea,  R.  33/4-5,  B.  IV-i,  dej.  2V2-3,  D.  4-5,  pens. 
9-14  fr. ;  Hot.  Sayoie,  Via  Carignano,  near  the  station,  R.  from  3'/2,  B.  li/s, 
D.  4,  S.  3,  pens.  8  12  fr. ;  ''Strand  Hotel,  in  an  open  situation  with  line 
views,  at  the  W.  end  of  the  coast  promenade,  with  lift,  K.  S'/z-B,  B.  IV2, 
dej.  3,  D.  4-4V2,  pens.  8-14  fr. ;  "Schickert's  Park  Hotel,  at  the  E.  end  of 
the  town,  with  line  grounds  stretching  to  the  sea  (a'lm.  free)  and  a  cafe- 
restaurant  on  the  terrace  over  the  sea,  15.  from  3,  B.  l'/4,  dej.  Qi/j,  U.  372-4, 
pens.  8'/2-12,  not  for  consumptives,  ijuite  German.  —  Hot. -Pens.  Nervi, 
R.  2V2-3V2fr.,  L.  30  c.,  B.  IV2,  dej.  21/2,  D.  4,  pens.  8-10  fr.,  well  .'■poken 
of;  SciiwEizERHoF,  R.  2-5,  B.  11/4,  D.  31/2,  S.  2'/2,  pens.  7-10  fr.,  these 
two  in  the  Piazza  Vittorio  Emanuele,  at  the  corner  of  tlie  Viale  Vittorio 
Emanuele,  leading  to  the  station;  Hot. -Pens.  Bellevue,  Via  Belvedere, 
on  the  road  to  Sanf  llario,  with  fine  view,  pens,  from  6V2  Ir. 

Pensions  (usu::lly  with  gardens).  P.  Biirgi,  next  the  Villa  Gropallo, 
7-10  fr.,  P.  Bonera.  to  the  W.  of  the  town,  7-9  fr.,  both  good;  P.  Villa 
Frisia,  6-8  fr.,  P.  Villa  Adelaide,  from  ^1/2  fr.,  P.  la  Riviera,  these  three  in 
the  street  leading  to  the  station;  P.  Splendide,  P.  de  la  Ville,  from  5  fr., 
P.  Centrale,  these  three  at  the  W.  end  of  the  town,  near  the  Giardino 
Pubblico ;  P.  Beau-Site  (Italian),  Via  Serra  18,  dej.  2,  D.  3,  pens,  from  7  fp. ; 
P.  Sacchetti,  near  the  Eden  Hotel,  pen=.  from  6  fr. ;  P.  Biswarck  (Villa  Nata- 
lina),  P.  Beau-Rivage  (iJerman;  6-9  fr.),  P.  Rnsse,  these  three  in  the  Via 
Capolungo,  at  the  E.  end  of  the  town;  P.  Printemps,  5-6  fi-. 

All  the  hotels  and  pensions,  except  ScMckerfs  Park  Hotel^  Hot.  Sclmeizer- 
kof.  P.  la  Riviera,  P.  de  la  Ville,  P.  Beau-Site,  and  P.  Russe,  are  closed  in 
sucniner.  —  Furnished  Apartments  (800-1500  fr.  for  the  season)  and  villas 
(2500 -  4000  fr.)  are  scarce.  Agents,  Ant.  Cerruti,  Crovetto,  Via  del  Pozzo  56 
and  72. 

Restaurants.  Ristoriinte  Cristoforo  Colombo,  Piazza  Vitt.  ^manuele.  — 
Cafes.  Cafi  del  Chiosco,  C.  Miramare,  both  on  the  Coast  Promenade;  G.Milano 
(also   confectioner's),   Piazza  Vitt.   Eman. ;    C.  des  Palmiers,  Via  del  Pozzo. 

Post  &  Telegraph  Office,  Via  Corvetto  134. 

Cabs.  Per  drive  in  the  town  50  c.,  with  two  horses  1  fr. ;  at  night 
1  or  l'/2  fr. ;  per  hour,  3,  3V2,  3'/'2,  and  4  fr.  Special  tarilT  for  diives  beyond 
the  town  (to  Sanf  llario,  31/2  or  4  fr. ;  to  Genoa,  5  or  5V2  fr. ;  to  Rapallo, 
12  or  14  fr.  ;  to  Portofino,  18  or  20  fr.). 

Electric  Tramway  (from  the  Piazza  Vitt.  Eman.)  to  Genoa,  see  p.  77 (No.  8). 

Physicians.  Dr.  Alexander,  Dr.  Greger,  Dr.  Michaelsen,  Dr.  Neukomnt, 
Dr.  Ortenau,  Br.  Rhoden,  Dr.  Schmidt,  Dr.  Schneegans,  Dr.  Stifhr,  Dr.  Thomas, 
Dr.  Weissenherg.  —  Dentist.  Dr.  Ebner,  Via  del  Pozzo  65.  —  Chemists.  Gallo, 
Via  Corvetto  111,  near  the  post-office;  Outh,  Piazza  Belvedere.  —  English 
Church  Service  at  the  Eden  Hotel. 

Music,  daily  at  2.30  p.m.  on  the  Coast  Promenade.  —  Visitors'  Tax, 
I'/a  fr.  per  week.  —  Enquiry  Office  (with  reading-room),  Via  Corvetto  94. 
—  Visitors'  List,  Pro-Nerm,  twice  a  month,  25  c. 

Climate,  etc.  Nervi,  the  oldest  winter-station  on  the  E.  Riviera,  is 
backed  on  the  N.  by  Monte  Giiigo.  and  is  sheltered  on  the  N.W.  by  the 
Monte  Mora,  a  spur  of  the  Monte  Fasce,  and  on  the  E.  by  the  promontory 
of  Portofino,  while  it  lies  fully  exposed  to  the  .S.E.  wind.  Its  mean  winter 
temperature  (.52°  Fahr.)  is  almost  the  same  as  that  of  the  W.  Riviera,  but 
the  rainfall  at  Nervi  is  more  copious  and  the  periods  of  dry  weather  less 
prolonged.  The  relative  moisture  of  the  three  winter  months  is  60.1  per  cent. 

Nervi,  a  small  town  with  3500  inhab.,  surrounded  with  groves  of 
olives,  oranges,  and  lemons,  is  mucli  frequented  in  winter  by  Eng- 
lish, Russians,  and  Germans,  as  a  health-resort.  Tlie  Viale  Vittorio 
Emanuele,  with  its  line  palms,  leads  to  the  N.  from  tlie  railway- 
station  to  the  (3  min.)  town,  which  is  intersected  from  W.  to  E.  by 
the  highroad,  here  called  Via  Cavour  (to  the  "W.l  and  Via  del  Pozzo 
(^to  the  E.).   In  the  Via  Cavour  are  the  Giardino  Pubblico  (left)  and 


to  Pisa.  KUXA.  -JU.  Route.    109 

the  Villa  Croce  (No.  113 ;  right);  in  the  Via  del  Pozzo  are  the  Park 
of  the  Marchese  Gropallo  (right,  No.  55,  adm.  V2  fr.,  visitors  staying 
at  the  Grand  Hotel  free),  with  a  fine  group  of  date-palms  and  an 
old  watch-tower  on  the  Coast  Promenade,  and  the  Villa  Serra  (no 
adm.).    All  these  are  noteworthy  for  their  luxuriant  vegetation. 

A  feature  of  the  place  is  the  dust-free  and  sunny  *Coast  Prom- 
enade (to  the  left  on  leaving  the  station!,  whicli  runs  along  tlie  shore 
above  the  rocky  beach,  and  is  protected  by  a  lofty  wall  on  the  land- 
ward side.  Pleasantly  placed  benches  on  the  promenade  and  in  the 
adjoining  gardens  afford  resting-places  for  patients  wlio  wish  to  be 
much  in  the  open  air  without  talking  active  exercise. 

The  Via  Belvedere,  beginning  at  the  Piazza  Belvedere,  about  the  middle 
of  the  main  street,  ascends  in  curves  to  (^/t  hr.)  the  church  of  Smif  Ilario 
(640  ft.).  On  the  way,  and  from  beside  the  church,  wc  obtain  admirable 
views  as  far  iis  Portolino  on  the  E.,  and  of  the  Riviera  di  Ponente  and 
the  Ligurian  Alps  on  the  W.  The  footpath  (short-cutl  may  be  chosen 
for  the  descent;  or  we  may  follow  the  hill  to  the  W.  and  descend  via  the 
Cappella  San  Rocco  (655  ft.)  to  the  Giardino  Pubblico  ('/z  hr.).  —  From  Sant' 
Ilario  we  may  proceed  via  the  Monte  Oiugo  (1595  ft.)  to  the  top  of  the  Monte 
Fasce  (2?30ft.;  2V2  hrs.),  whence  a  fine  view  is  obtained  of  Genoa  and  to 
the  N.W.  of  the  Apennines  as  far  as  the  Monte  Rosa  chain;  descent  via 
Apparizione  to  Sturla  (p.  107).  —  The  choice  of  walks  is  small. 

The  numerous  tunnels  that  now  follow  sadly  interfere  with  the 
enjoyment  of  the  view.  —  81/2  ^-  Bogliasco  (Hot.-Pens.  Bristol). 
9'/.2  M.  Pieve  di  Sori,  above,  which  rises  the  chapel  of  Santa  Croce 
(1720  ft.  ;  11/2  lir-  ;  '^'iew).  IO1/2  M.  Sori  (65  ft.)  is  beautifully 
situated  at  the  mouth  of  a  pretty  valley,  up  which  a  road  runs  to 
(I3/4  M.)  Canepn.  We  enjoy  a  noble  survey  of  sea  and  valley  from 
the  viaduct  which  passes  high  above  the  town  and  rivulet. 

13  M.  Kecco  (modest  inn  ;  omnibus  to  Ruta  50  c. ;  carr.  2-3  fr.). 

The  *RoAD  FROM  Recco  to  Rapallo  (carr.  5-6 fr.)  ;iscends  the  mountain- 
slope  to  the  S.E.,  with  a  view,  to  the  right^  of  Camogli  (p.  110)  and  the  pop- 
ulous coast,  and  reaches  (2'/-2  M.)Ruta  (950  ft.;  Kursaal  Udt.  iritalie,  with  a 
menioiial  tablet  to  Nietzsche,  R.  from  2,  B.  1,  dt'j.  21/2,  D.  3-4,  pens.  6-10  fr., 
bargain  desirable;  Oatcvia  Piemontese,  beyond  the  tunnel,  good  cuisine),  a 
village  commanding  a  magnificent  retrospect  of  the  Gulf  of  Genoa.  The 
road  then  traverses  a  tunnel  (80yds.  long;  curious  view)  acd  descends 
through  chestnut  woods  in  wide  bends  via  (SVa  M.)  San  Lorenzo  delta  Costa 
(Flemish  altar-piece  of  1499  in  the  church),  beyond  which  steep  fnotpaths 
diverge  to  the  left  for  San  Massimo  (p.  113),  to  the  right  for  San  Siro  and 
Santa  Marghcrita  (p.  110),  to  (7  Ji.)  Ilapallo  (p.  112)  on  the  X.E. 

Ruta  is  the  most  convenient  starling-point  for  the  ascent  of  the 'Monte 
di  Portofino  or  Monte  Teltgrafo  (2000ft.),  an  almist  si|uare  promontory  of 
hard  tertiary  conglomerate,  with  a  rich  flora,  especially  on  its  S.  slopes. 
A  new  private  road  (adm.  V2  ff-i  carr.  1  fr.)  ascends  from  the  E.  end  of 
the  tunnel  on  the  higli  road  to  the  S.  to  the  (I'/e  M.)  Restaurant  Portofno- 
Kiilm  (1510  ft.),  with  extensive  view;  new  hotel  under  construction  (motor- 
car from  the  stations  of  Recco  and  Rapallo  4  fr.,  brake  3  fr.  there  and 
back).  Farther  on,  there  are  three  paths :  one  leading  to  the  right  to  the 
(V2  l*""-)  SeiiKi/oro,  the  new  signal-station  ('/z  hr.  below  the  old  one)  on  the 
Monte  Campana  (2915  ft.),  another  to  the  left  to  the  Passo  Pietre  Strette 
(p.  110),  while  we  proceed  by  the  middle  path,  finally  through  wood,  to  the 
{3/4  hr.)  summit.  The  Old  Signal  Station  (2000  ft.)  commands  a  magnificent 
view  i)f  the  Riviera,  frc^m  Capo  Berta  near  Oneglia  to  the  islands  off  Porto 
Venere,  while  in  clear  weather  the  Maritime  Alps,  the  Alpi  Apuanc,  and 
Corsica  are  sometimes  visible.  —  From  the  summit  we  proceed  to  the  E. 


IJO    ;^ow/f  i'(^         SANTA  MAKGHERITA.  From  Genoa 

(or  from  tlie  restaurant  mentioned  on  p.  100  to  the  S.E.)  to  the  (20  min.) 
Passo  I'ietre  Slrette  (1415  ft.;  Restaurant  Paradiso,  new),  beyond  which  a 
rough  and  not  easily  found  path  leads  to  the  W.,  with  a  good  view  of  the 
precipitous  S.  side  of  the  cape,  to  the  (3/4  hr.)  Semd/oro  (p.  109).  Another 
path  descends  to  the  S.  from  the  Pietre  Strette  to  (1  hr.)  San  FrtiUuo.10 
(p.  HI),  whore  a  boat  for  Camogli  or  Portoiino  may  be  taten  (2  fr.).  The 
two  main  paths  from  the  Pietre  Strette  lead,  one  to  the  left  to  (l'/4  hr.) 
Santa  Mar glterita  (see  below;  road  projected),  the  other  straight  on,  along 
the  ridge  among  fine  umlDrella-pines,  to  (t'/z  l""-)  Portofino  (p.  111). 

On  the  Monte  Orsena  (2010  ft.),  6  M.  to  the  N.  of  Ruta,  is  the  pilgrimage- 
cliurch  of  Madonna  di  Caravaggio  or  Caravagli  (founded  in  1747),  with  a 
lofty  (light  of  step.s  (414)  and  good  view.  The  best  descent  leads  to  San 
Pietro  di  Novella  (p.  113).  —  From  Ruta  via  Santa  Maria  del  Campo  to  (I1/2  hr.) 
Rapallo,  see  p.  113. 

141/2  M.  Camogli  [Alb.  delta  Stazione,  plain;  boat  to  San  Frut- 
tiioso  4,  to  Portofino  8-10  fr.,  bargain  necessary),  a  small,  but  at  one 
time  important  harbonr  (6700  inhab.),  with  a  school  of  navigation, 
lofty  houses,  and  the  ruined  Cai^lello  Draj/one (views),  is  aho  connect- 
ed with  (21/2  M.)  Ruta  (p.  109)  by  road,  and  with  the  Monte  di  Porto- 
fino (2  hrs.)  by  a  bridle-path  via  San  Rocro.  —  From  San  Rocco  a  bad 
footpath  (views)  leads  to  the  S.  past  t)ie  church  of  San  Nicola  to  the 
Funta  della  Chiappa,  the  S.W.  point  of  the  promontory  (I'/o  ^^-  from 
Camogli),  with  a  small  oratory  (Madonnina),  a  curious  harbour,  and 
an  old  convent  (now  a  private  house).   To  San  Fruttuoso  see  p.  111. 

Beyond  a  tunnel  (1^/4  M.)  penetrating  the  promontory  of  Porto- 
fino the  train  reaches  — 

171/2  M.  Santa  Margherita  Ligure.  —  Hotels  (nearly  all  have 
stcam-lieating).  *Geand-H6tel  Mikamare,  on  the  road  to  Portofino,  with 
lift,  R.  from  4,  B.  IV2.  dcj.  31/2,  D.  5,  board  9fr.;  Grand-Hotel,  in  an 
elevated  situation  (view),  R.  from  5,  B.  IV2,  dej.  3'/2,  D.  5,  pens.  8-12, 
omn.  l/'j  fr. ;  *^  Hutei,  Regina  Elena,  on  the  Portofino  road,  with  lift,  R.  2'/2-6, 
B.  11/2-  de'j.3,  D.  4,  pens.  (L.  extra)  7-12  fr. ;  *Gk.  Hot.  Continental,  with 
lift,  B.  H/2,  dej.  3,  D.  5,  pens.  8-12  fr. ;  M6tropole,  R.  from  21/2,  B.  IV2, 
dej.  2'/?,  f-  4,  pens.  7-10,  omn.  1  fr.,  both  on  the  Rapallo  road  with  line 
gardens;  Stkand  Hotel,  in  the  town,  on  the  sea,  with  lift,  R.  from  4, 
B.  l>/2,  D.  41/2,  pens,  incl.  wine,  10-16  fr. ;  Hot. -Pens.  Victoria,  with 
garden,  pens,  from  71/2  fr- ;  Kdrsaal  Hotel,  with  sea-baths,  R.  from  3, 
B.  11/2,  dej.  3,  D.  41/2,  pens,  from  8  fr.,  very  fair;  Alb.  Roma,  with  restau- 
rant, pens.  6  fr.,  plain  but  good,  both  in  the  town.  —  Pensions:  Slwm- 
(iuitlry,  8-15  fr. ;  Villa  Bauer  ^  6-9  fr. — -Cafe-Restaurants.  Chalet  Margheriia, 
with  sea-baths,  Coffi-Iiistorante  Colom'o,  both  near  the  sea;  Munich  beer 
at  the  Caffe  Ligure.  —  Carriage  to  Portofino  and  back  with  one  horse 
(2  pers.)  6,  with  two  horses  8  fr.  ;  to  Rapallo  3  or  5  fr. ;  to  Ruta  10  or 
14  fr. ;  to  Zoagli  8  or  10  fr. ;  to  Chiavari  16  or  20  fr.;  to  Sestri  Levante  25  or 
35  fr.  —  Boat  to  Portofino  and  hack  4-6,  to  San  Frulluoso  12,  to  Camogli 
(without  return)  15  fr.  —  Physician,  Dr.  Schwenlce. 

Santa  Margherita,  a  town  of  4900  inhab.,  frequented  as  a  winter- 
resort  and  for  sea-bathing,  is  situated  at  the  mouth  of  the  Val  di  San 
Si/ro,  on  one  of  the  beautiful  and  sheltered  bays  of  the  *  Gulf  of 
Rapallo,  also  called  Golfo  Tiyulio  after  an  ancient  town  of  that 
name.  Columbus,  Victor  Emmanuel  II.,  Cavour,  and  Mazzini  are 
all  commemorated  by  statues  here.  Many  of  the  women  are  engaged 
in  lace-making,  while  the  men  go  in  May  as  coral-flshers  to  the 
coasts  of  Sardinia. 


10  Pisa.  roKTOI'lNO.  I'll.  Route .    Ill 

A  inagiiiliceiit  avenue  of  plane-trees  leads  up  the  Val  di.  San  Siro 
to  the  church  of  San  Siro  (to  Sau  Lorenzo  aud  Kuta,  see  p.  109). — 
The  Monte  di  Portofino  (p.  109)  uiay  he  ascended  from  Santa  Mar- 
gherita  in  21/0  I'l's.  via  San  Loren/o  and  Ruta,  in  '2.1/4  hrs.  via  the 
Pietre  Strette. 

The  *RoAD  TO  Portofino  (3  M. ;  omn.  4  times  daily),  coni- 
raenced  under  Napoleon  I.,  is  one  of  the  most  heautiful  in  Italy.  It 
skirts  the  sea  from  Santa  Margherita,  with  views  of  the  coast  as  far 
as  the  hills  of  Spezia,  passing  tlie  Villa  Cosl:a  and  other  villas,  and 
running  helow  the  (i/2br.)  former  Benedictine  convent  of  C'eruara 
(ca.  1361;  now  occupied  hy  French  Carthusians,  p.  449),  where, 
after  the  battle  of  Pavia  (p.  203),  Francis  I.  of  France,  detained  by 
contrary  winds  on  his  way  to  Madrid  as  the  prisoner  of  Charles  V., 
was  once  confined.  Thence  the  road,  passing  the  picturesque  Castle 
of  Paraggi  (Mr.  F.  Brown,  of  Genoa),  leads  to  the  hamlet  of  Paraggi 
(Pens.  Cosmopolite,  with  sea-baths,  pens.  6-9  fr.,  good),  whence  a 
footpath  (see  below)  crosses  the  wooded  hills  to  Santa  Margherita. 

The  fishing-village  oi  'PoitoS.no  (*Gr.  Hotel  Splendide,  in  a  lofty 
situation  with  belvedere  and  garden,  R.  i^/-2,  (le'j.  3i/2-i>  ^-  ^-6, 
pens.  9-14,  omn.  21/2^1.,  frequented  by  English  visitors;  Grand 
Hotel,  under  construction;  Piccolo  Hotel,  on  the  beach,  good;  Al- 
bergo  Delfino,  in  the  village.  R.  from  21/2,  pens.  inil.  wine  6-7  fr., 
plain;  Oderia  della  Stella),  the  Roman  Portus  Delphini,  is  ensconced 
in  a  narrow  and  well-sheltered  bay  near  the  S.E.  extremity  of  the 
promontory.  Lace  is  made  here.  The  fine  date-palm  in  front  of  the 
church  should  be  noticed.  The  Romanesque  church  of  San  Giorgio 
(r2th  cent.),  rising  above  sheer  cliffs  [^/i^r.),  commands  a  striking 
view.  The  magnificent  Villa  Carnarvon,  close  by,  was  occupied  by 
the  German  Crown  Prince  Frederick  William  in  1886  (adm.  on  Mon. 
afternoon). 

Tlie  extremity  of  the  promontory,  fortified  in  the  14th  cent.,  is 
occupied  by  an  old  Castle  [JiiT  M.  Brown)  and  the  pilgrimage-chapel 
of  Madonna  del  Capo  ('20  min.  from  Portofino  (fine  views). 

Tlie  hitihly  attractive  niounUiin-path  to  Portofino,  reached  by  a  road 
ascending  beside  the  Villa  Costa  (see  above),  crosses  the  hill  below  the 
church  of  Madonna  di  Nozareyo,  and  descends  to  .join  the  road  at  Paraggi. 
On  the  way  a  footpath  diverges  on  the  left  for  Cervara  (see  above)  and 
another  on  the  right  for  Uccellcria.  a  line  pidnt  of  view. 

The  excursion  to  Portofino  may  be  pleasantly  prolonged  (in  calm 
weather)  by  taking  a  boat  ('1-5  fr.),  aloni;  tie  precipitous  S.  coast  of  the 
jiroinontory,  to  (i'/4  hr.)  the  convent  of  'San  FrvUiioso  (Osteria  Unica,  un- 
pretending), mentioneil  as  early  as '.81,  prettily  situated  in  a  bay  between 
steep  rocks.  The  early-Gothic  church  ccmtains  a  Roman  sarcophagus  and 
the  lombs  of  some  memliors  of  I  lie  Doria  family  (13-lUh  cent.).  We  thence 
row  on  to  the  (Yi  br.)  Ptmta  della  Chiappa  and  Cumoyli  (comp.  p.  110). 

The  Monte  di  Pcrtofino  (p.  109)  may  be  ascended  from  Portol'ino  in 
2Vi  hrs.,  from  San  Fruttuoso  in  13/4-2  hrs. 

The  picturesque  *Road  to  RAr.A.LLo  (2M. ;  omn.)  passes  the 
Marchese  Spinola's  Villa  Pagana,  with  its  beautiful  *Garden  (adm. 


112    Route  -20.  RAPALLO.  From  Genoa 

free),  and  tlie  flsliing- village  of /San  Michele  di  Payana,  the  churcli  of 
which  possesses  an  altar-piece  by  Van  Dyck  (Crucifixion;  ca.  1625; 
injured)  and  a  group  of  the  Crucifixion  by  Maragliano  (p.  88). 
The  Railway  runs  to  the  N.  and  traverses  two  tunnels. 

18'/2  M.  Hapallo*  —  Hotels  (comp.  p.  six;  mostly  closed  in  summer  ; 
nearly  all  have  steam-heatin};).  Impekial  Palace  Hotel,  near  tlie  station 
of  Santa  Margherita,  in  an  elevated  situation  (view),  with  lift  and  park, 
R.  from  3,  K.  2,  dej.  4,  D.  6,  bath  3,  pens,  from  12  fr.;  HoTtL  Kdesaal, 
also  on  the  Santa  Margherita  road,  1  M.  from  the  station,  with  concert- 
room,  garden,  and  sea-baths  (new  building  projected).  —  "Gr.  Hot.  Rotal, 
E.  from  3,  B.  fi/i,  dej.  3V2,  D.  41/2,  pens.  7-12,  omn.  1  fr.,  frequented  by 
the  English;  'Gr.  Hot.  Beau-Rivage,  R.  from  3,  B.  IV4,  dg.  3-3V2,  U.  4-5, 
pens.  9-12,  omn.  1  fr.,  both  with  lift,  steam-heating,  and  garden  (these  two 
belong  to  the  same  proprietors);  *Gr.  Hot.  Savoia,  with  the  dcpendance 
Jiosa  Bianctt  and  a  cafe  on  the  sea,  R.  from  3,  B.  l'/2,  dej.  3,  I).  41/2,  pens.  7-12, 
omn.  1  fr.,  many  German.s;  *  Riviera  Splendide  Hotel,  R.  from  3,  B.  IV2, 
d6j.  3V2,  I>.  41/2,  pens,  from  8,  omn.  1  fr.,  new;  Hot.  Mikamare,  R.  from  3, 
B.  IV2,  dej.  3-3'/2,  1).  4-iV2,  pens,  from  8fr.;  'Hot.  Modernk,  R.  31/2-6, 
B.  11/4,  dej.  3-3V2,  D.  41/2-5,  pens.  7-12,  omn.  1  fr.  (the  last  three  in  the 
Giardino  Pubblico,  on  the  sea);  Hot.  Bristol,  R.  from  3.  B.  I1/2,  dej.  3, 
D.  4,  pens,  from  6,  omn.  1/2  fr. ;  Hot.  des  Etrangeks,  E.  from  2V2,  B.  I1/2, 
dej.  21/2,  D.  31/2,  pens.  Ci/2-lOfr. ;  Eden  Hotel  &  Pens.  Germania,  with  a 
small  garden,  R.  from  21/2,  B.  I1/2,  dt5j.  21/2,  D.  3,  pens.  6-7  fr.,  plain.  — 
At  the  E.  end  of  Ihe  town  :  ''Gr.  Hot.  Augusta  Victoria,  on  the  sea,  with 
lift  and  the  dependance  Hdl.  Suisse,  R.  3-5,  B.  I1/4,  dej.  31/2,  D.  41/2,  pens. 
8-19,  omn.  1  fr.,  new;  Grand  Hotel  et  Europe;  H6t.-Restaur.\nt  Marsala, 
on  the  harbour,  R.  2-5,  pens.  G-8  fr.,  verv  fair.  'Gr.  Hot.  Verdi,  R.  3-7, 
B.  IV2,  dej.  3-4,  D.  41/2-51/2,  pens.  7-12,  omn.  I1/2  fr.,  many  English;  *Hot.- 
Pens.  Braun-Bellevue,  R.  2V2-4,  B.  I1/4,  D.  3-3V2,  S.  2-2V2,  pens.  6-9  fr., 
these  two  in  a  lofty  situation  on  the  Recco  road,  1/2  M.  from  the  station. 
"Hot.  du  Parc,  I'/i  M.  from  the  station,  with  garden,  R.  3-5,  B.  I1/2, 
D.  41/2,  S.  21/2,  pens.  7-12,  omn.  1  fr. ;  Hot.  International,  R.  from  21/2, 
B.  11/2,  dej.  3,  D.  4,  pens.  7-12  fr. ;  Hot.-Pens.  Metropole,  pens.  7-JO  fr. ; 
-Pens.  Elisabeth,  7-8  fr.,  both  German ;  all  these  are  in  an  open  situation 
on  the  CLiiavari  road;  Pens.  Vill.^  Jolanda,  Via  Montallegro,  6-9  fr.,  also 
at  the  S.E.  end  of  the  town;  Alb.  Mont'  Allegro,  with  restaurant  and 
small  garden,  R.  2  fr.,  Italian,  very  fair.  —  Hotel  Kronpkinzessin  Cecilia, 
at  S.  Michele  di  Pagana  (see  above),  with  electric  light  and  garden,  R.  3-8, 
D.  4,  pens.  10-15  fr. 

Cafes.  Chalet  Saline  (baths);  Cafi  Roma.  —  Alexandra  Tea  Rooms.  — 
Restaurant  de  la  Oare  (Munich  and  Pilsner  beer). 

Gabs  (scarce;  bargain  necessary  ff^r  longer  excursion.s).  To  Sanf  Anna 
and  back  with  one  horse  I1/2,  with  two  3  fr. ;  to  San  Pietro  di  Novella  or 
Santa  Maria  del  Campo  2  or  31/2  fr. ;  to  Santa  Margherita  3  or  41/2  fr. ;  to 
San  Lorenzo  or  Zoagli  'S^l'z  or  5  fr. ;  to  Portofino  or  Ruta  8  or  10  fr. ;  to 
Chiavari  9  or  12  fr.  —  Boats,  Per  hr.  2  fr. ;  during  the  season  motor-boats 
to  San  Fruttuoso  and  Chiavari. 

Physicians.  Dr.  Winslow,  3  Via  Montebello ;  Dr.  Bruck;  Dr.  Schmincke.  — 
Chemist.     Farmacia  Voigt. 

English  Church  (St.  George's),  at  the  W.  end  of  the  town;  services 
(Nov. -April)  at  8.30,  10.30  and  3;  chaplain.  Rev.  F.  Knight,  Hotel  Royal. 

Climate.  Rapallo  is  surrounded  on  the  N.  by  a  semicircle  of  moun- 
tains, which  unite  with  the  promontory  of  Portofino  on  the  W.,  to  forma 
tolerable  shelter  against  the  wind.  Rapallo  is  cooler,  moister,  and  rainier 
than  Nervi,  but  far  excels  it  in  the  number  of  its  attractive  walks. 

Rapallo,  a  small  seaport  with  5800  inhah.,  who  make  lace  and  do 
a  brisk  trade  in  olive-oil,  is  situated  at  the  mouth  of  the  Boato,  at 
the  head  of  the  Gulf  of  Rapallo  (p.  110).  As  a  winter-resort  it  is 
frequented  by  the  English  and  Germans  owing  to  its  agreeable  cli- 


to  Pisa.  CHIAVARI.  20.  Route.    113 

mate,  its  freedom  from  dwst,  and  its  beautiful  situation.  In  summer 
it  is  visited  by  Italians  for  sea-bathing.  The  old  Castello,  on  the 
beach,  Is  now  a  prison  and  coast-guard  station;  close  by  are  the  old 
Porta  Saline  and  a  Zoological  Station.  The  Parish  Church  has  a  lean- 
ing tower;  in  the  Oratorio  dei  Bianchi  is  a  statue  of  St.  Sebastian  by 
Maragliano  (p.  88).  To  the  W.  of  the  town  lie  the  small  Oiardino 
Pubblico  and  an  ancient  Roman  Bridge,  known  as  'Hannibal's  Bridge'. 
Exct3RSi0Na.  By  boat  (IV2  lir. ;  3V2-5  fr.  there  and  b:,ck)  or  by  road 
(p.  Ill ;  6  31.)  via  Santa  Margfierita  to  Portojino  (p.  Ill  1.  —  Via  San  Lorenzo 
delta  Costa  and  Ruta  to  (2V2  hrs.)  t'.ie  lop  of  Monte  di  Portojino,  or  to  ('2'/s- 
3  hrs.)  Recco  or  Camogli,  p.  110.  —  By  road  (.imnibus)  throvigh  the  Boato 
Valley,  with  it3  numerous  orchavd.i,  to  (I  M.)  SanC  Anna.  Thence  to  the 
N.,  by  the  Val  di  Foggia,  dominated  by  the  sheer  Manico  di  Lnme  (2625  ft.), 
to  San  Pietro  di  Novella  and  (21/2  M)  Sanf  Andrea  di  Foggia;  or  to  the  W. 
to  (2  M.)  Santa  Maria  del  Campo,  near  the  Romanesque  church  ot  San  Tommaso 
and  ihe  early-(;otliic  ruins  of  the  Monasterio  di  Valle  Christi  (founded  12U4; 
secularized  1535);  or  to  the  .S.W.  to  (2V2  M.)  San  Massimo.  The  last  two 
villages  are  connected  by  footpaths  with  Rata  and  San  Lorenzo  (see  above). 
—  To  Sant''  Ambrogio,  ^ji  hr.  to  the  S.E.  —  To  the  N.E.  is  the  pilgrimage- 
church  of  'Madonna  di  Montallegro  (2(X15  ft. ;  founded  in  15.57),  reached  by 
a  bridle-path  passing  among  fine  old  ilexes  in  2-21/4  hrs.,  and  commanding 
a  snperb  view.  Beside  the  churcli  is  the  Locanda  di  3iout;illegro  (R.  2-3, 
pens.  5-6  fr.).  The  view  is  still  more  extensive  from  the  Monte  Rosa  (2270  ft. 1, 
10  min.  to  the  E.,  or  from  the  Monte  Castello  (2170  ft.),  V2  hr.  to  the  S.E. 
From  the  latter  we  may  descend  to  the  S.W.  to  Sant^  Ambrogio  (see  above), 
or  we  may  follow  the  ridge  to  the  S.E.  and  then  descend  to  San  Ruffitio 
di  Levi  (915  ft. ;  inn)  and  through  the  pretty  Rupinaro  Valley  to  (2V2  hrs.) 
Chiavari  (sec  below). 

The  *RoAD  FROM  RAv.iLLo  TO  Chiavari  (71/2  M')  is  one  of  the 
most  beautiful  in  Italy,  and  should  be  traversed  by  carriage  (one- 
horse  6-S,  two-horse  12  fr.)  or,  as  far  as  (S*^  M.  from  Uapallo)  Zoagli, 
on  foot.  The  road,  with  fine  views  of  the  coast  as  far  as  Portoflno, 
ascends  a  hill,  where  Chiavari  comes  into  sight,  then  descends  rapidly 
to  (31/4  M.)  Zoagli  (see  below).  We  again  asiend  (two  sliort  tunnels) 
over  the  ridge  bearing  the  ancient  churches  of  Sanf  Andrea  and 
San  Pietro,  and  pass  below  the  church  of  Madonna  delle  Grazie, 
whence  the  road,  commanding  line  views  of  the  coast  as  far  as  Sestri, 
descends  rapidly  to  Chiavari. 

The  Railw.w  between  RapaUo  and  Chiavari  is  an  almost  con- 
tinuous tunnel.  —  21  M.  Zoagli  (166  ft. ;  cafo'),  a  prettily  situated 
little  place,  with  an  interesting  churchyard.  The  manufacture  of 
velvet  is  a  house-industry  here. 

24  M.  Chiavari.  —  Hotels  ""Albergo  del  Negrino,  R.  2-2'/2  fr. ; 
Alb.  OoLosfiio .  Alb.  Priario,  both  clean.  —  Caffi  Sangtiineli,  Pia/.za 
Garibaldi.  —  Boat  to  Portolino  5  fr.  —  Cvrriage  to  Kapallo  6  fr.  — 
Omnibus  to  Sestri  (p.  ll-l)  and  twice  daily  to  Borzonasca  (70  c). 

Chiavari,  an  episcopal  town  with  10,400  inhab.,  near  the  mouth 
of  the  Entella,  where  the  mountains  recede  in  a  wide  semicircle, 
manufactures  lace,  light  chairs  (sedie  di  Chiavari),  and  silk,  and 
builds  ships.  Near  the  station  are  pretty  gardens  and  the  church  of 
Madonna  dell'  Orto  (1613),  now  the  cathedral,  with  a  large  portico 
added  in  1841.    In  the  Piazza  Carlo  Alberto  are  the  handsome  new 

Babdeker.    Italy  I.    13th  Edit.  8 


114   Route  W.  SESTRI  LEVANTE.  From  Genoa 

Law  Courts.  The  ruined  Castle  dates  from  the  12th  century.  Fine 
view  from  the  mouth  of  the  river,  at  the  E.  end  of  the  town. 

Picturesijue  walk  by  the  old  Ponie  della  Maddalena,  the  highest  up  of 
the  bridges  over  the  Entella,  to  (2  M.)  the  late-Komanesque  church  of 
"San  Salvatore,  erected  in  1244-52 ,-  adjacent  is  an  old  palace  of  the  Fieschi 
(see  below).  —  Via  San  liuffino  di  Levi  to  the  Madonna  di  Montallegro  see  p.  113. 

From  Chiavari  a  road  runs  N.  via  Carasco  (100  ft.J  into  the  Sturla 
Valley^  in  which  are  the  villages  of  Borgonuovo  and  (10  M.)  Bvrzonasca 
(510ft.:  several  inns;  omn.  see  p.  113).  From  the  former  a  road  diverges 
to  the  ^^.E.  running  via  the  Passo  del  Bocco  (3125  ft.)  to  the  little  summer- 
resort  and  pilgrim-resort  of  Santa  Maria  del  Taro  (2340  ft.;  inn).  A  bridle- 
path (mnle  5  fr.)  connects  Borzunasca  with  (I1/2  hr.)  Prato  Sopra  la  Croce 
(1845  ft.;  Alb.  del  Club  Alpino,  R.  1  fr.,  well  spoken  of;  Hot  -Pens.  Pitta- 
luga),  a  favourite  summer-resort  in  the  Penna  Valley  (in  wh'.ch  are  many  old 
chestnut  woods),  near  a  cold  mineral  spring.  Prato  is  the  starting-point  for 
the  ascent  of  the  Monte  Ajona  (55S0  ft. ;  31/2  hrs. ;  views)  and  of  the  rugged 
t;reenstone  peak  of  the  Monte  Penna  (5695  ft.;  41/2-6  hrs.),  whence  the  descent 
may  be  made  via  the  Casa  del  Penna  (i^95  ft. ;  good  beds)  to  (21/2  hrs.) 
Santa  Maria  del  Taro  (i-ee  above). 

251/2  M.  Lavayna,  a  ship-building  place,  is  the  ancestral  Beat  of 
the  Counts  Fieschi,  and  the  birthplace  of  Sinibaldo  de"  Fieschi,  pro- 
fessor of  law  at  Bologna,  afterwards  Pope  Innocent  IV.  (1243-54). 
Ascent  of  Monte  Capenardo  via  Cogorno^  see  p.  116.  —  27  M.  C'avi, 
at  the  mouth  of  a  charming  ravine. 

281/.2  M.  Sestri  Levante.  —  Hotels.  "Gband  Hotel  Jensch,  in  an 
open  situation  on  the  W.  bay,  R.  from  3,  B.  IV2,  dej.  3,  D.  4,  pens.  9-14 
(L.  extra),  omn.  '/i-l'/i  fr.,  Oernian;  Gb.  Hot.  BIikamark  (Europe).,  on  the 
S.  bay,  R.  from  3,  B.  IV2,  d^j.  3,  D.  4,  pens.  8-12  fr..  with  lifss,  steam- 
heating,  and  gardens;  Alb.  Victoria,  at  the  harbour  (Piazza  Vitt.  Emanu- 
ele).  Alb.  dki  Viaggiatoei,  near  the  station,  both  quite  Italian,  unpretend- 
ing. —  Osteria  Ohio,,  Piazza  Vitt.  Eman.,  good  Piedmonte.se  and  Ligurian 
wine.  —  Caffi  Ligure,  Corso  Colombo  6.  —  Post  Office,  Via  Carlo  Alberto, 
the  main  street.  —  Sea  Baths  at  the  Stahilimento  Nettuno  (also  theatre),  on 
the  W.  hay.  —  Physician:  Dr.  Bartel.  —  Omnibus  to  Chiavari  hourly  (40  c). 

Sestri  Levante,  the  Roman  Segesta  Tiguliorum,  a  small  seaport 
with  3000  iiihab.,  is  situated  on  the  flat  and  fertile  Isthmus  which 
connects  the  plain  at  the  mouth  of  the  streamlet  Grdmolo  with  the 
Jsola  (230  ft.;  once  an  island),  an  abrupt  and  picturesque  sandstone 
cape.  The  shallow  W.  bay  commands  an  extensive  view  of  the  Gulf 
of  Rapallo  (p.  110);  the  small  S.  bay  has  steep  wooded  banks.  Sestri 
is  visited  for  sea-bathing  in  summer  by  Italians  and  as  a  winter- 
resort  by  nervous  patients  (especially  from  Germany),  while  its 
beautiful  and  well-wooded  environs  attract  numerous  pleasure  tour- 
ists. Its  winter -temperature  (46.4°  Fahr.)  is  lower  than  that  of 
other  Riviera  stations  as  it  is  not  so  well  sheltered  from  the  N.  wind, 
but  the  sun  is  longer  visible  and  the  atmosphere  is  drier. 

The  pretty  Coast  Promenade,  on  the  W.  bay,  near  the  station, 
and  the  adjoining  Oiardino  Pubhlico  are  the  favourite  resorts  of 
visitors.  —  From  the  harbour,  at  the  S.  extremity  of  the  bay,  we 
may  either  follow  the  picturesque  road  to  the  end  of  the  promontory, 
or  ascend  past  the  Guardie  di  Flnanza  (coast-guard  station)  to  the 
*ViUa  Piiima  (ring  at  the  upper  gate,  No.  4;  fee  20-30  c).  Passing 
below  the  mansion  and  beyond  a  'castle'  (view),  we  round  the  cape 


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to  Plaa.  SESTRI  LEVANTE.  20.  Route.   115 

to  the  right,  with  Its  tliie  pines  and  undergrowth.  —  Good  views 
of  the  S.  bay  are  obtained  on  the  way  to  the  Campo  Santo  (^from 
the  harbour  to  the  left  by  the  church),  and  also  from  the  Capuchin 
Monastery  and   from  the  Villa  Mandrella,  on  the  E.  margin  of  the 

S.  hay. 

E.^cuRSioNS.  Pleasant  walk  to  the  S.E.  to  liiva  (see  below),  via  the 
villages  of  Pila  and  San  Barlolomeo  (1  hr. ;  boat  from  .Sestri  2-3  fr.).  — 
From  San  Bartolmueo  an  attractive  footpath  leads  to  the  S.W.,  finally 
through  wood,  to  the  (1  hr.)  TeUgrafo,  or  signal-station,  on  the  S.  spur  of 
the  Monte  Castello  (870  ft.).  Here  we  command  a  view  of  the  bay  of  Riva 
and  of  the  coast  as  far  as  the  promontory  of  Portofino.  —  To  the  N.E. 
to  the  Erica  Wood  {V2  hr.)  and  San  Bernardo.  —  A  footpath,  diverging  to 
the  right  from  the  Chiavari  road  immediately  before  the  tunnel  and  affording 
fine  views,  leads  past  the  ruined  chapel  of  SanV  Anna  to  Cavi  (p.  114).  — 
A  bridle-path  ascends  to  the  N.  from  Sant'  Anna  to  the  (21/2  hrs.)  top  of 
the  Monte  Capenardo  (2270  ft. ;  view).  Descent  to  the  W.  to  Cogorno  and 
Lavagna  (p.  114).  —  Carriage-road  via  Pila  to  the  copper-mines  of  Santa 
Vittoria   and  Libiolo,  in  the  Gromolo  valley. 

The  Highroad  fbom  Sestbi  to  Spezia  (35V2M.;  carriage  25,  with  two 
horses  45  fr.)  diverges  to  the  right  from  the  road  to  Borgofavo  (see  below) 
beyond  Pila  (see  above),  and  from  (2  M.)  Trigoso  winds  np  the  scantily 
wooded  mountains  (short-cuts  for  walkers),  atl'ording  a  fine  retrospect  of 
Sestri  and  the  Monte  Castello,  to  the  magnificently  situated  Cata  BertoUo. 
(The  dairy  of  Casaggi,  a  little  to  the  right,  is  another  fine  point  of  view.) 
Thence  we  follow  the  N.  side  of  the  Monl>-  Moneglia  (1710  ft.),  and,  in 
view  of  the  sea,  reach  the  prettily  situated  village  <jf  (Ti/z  M.)  Bracco 
(1310  ft.;  inn),  whence  a  footpath  descends  on  the  S.  to  Moneglia  (see 
below).  We  now  traverse  a  bleak  mountain -district  via  Baracchino  to 
(ll'/s  M)  Baracca  (1930  ft.;  inn).  A  picturesque  road  leads  hence  to  the 
right,  passing  nuarries  of  so-called  red  marble,  to  Bonassola  and  (8V2  M.) 
Leranlo  (p.  116).  Our  road,  however,  descends  pa.st  tlG'/a  M.)  Currodano 
Inferiore  (555  ft. ;  omn.  to  Spezia)  to  t22'/2  M.)  Borghetto  di  Vara  (360  ft. ; 
Alb.  Europa,  modest;  Caflfe  Conti,  with  rooms),  in  the  valley  of  the 
Vara,  an  affluent  of  the  Magra.  The  road  skirts  the  broad,  gravelly  bed 
of  the  river  and  runs  up  and  down  to  (30  M.)  Bicct)  (460  ft.)  and  the  pass 
of  (33  M.)  la  Fact  (p.  118),  on  the  last  height  before  Spezia,  whence  we 
enjoy  a  magnificent  prospect  of  the  bay  and  the  precipitous  Alpi  Apnane 
(B.  21).    We  then  descend  to  (351/2  M.)  Spezia  (p.  116). 

From  Sestri  to  Borgotaro,  41  M.  (omn.  to  Vare.'ie  twice  daily).  The 
picturesque  road  leads  to  the  E.  frcim  Pila  (.see  above)  via  Sara  to  (3  M.) 
Cataria  Ligure  (110  ft.  I,  in  the  Petronio  valley,  and  thence  past  the  copper- 
mines  (on  the  left)  to  the  bamlet  of  Casclli.  It  then  mounts  rapidly  via 
(7  M.)  Cattiglione  Chiavarese  &iQ  ft.),  Missano,  and  (11  M.)  Veha  (inn)  to 
the  (I'iVaM.)  Passo  di  Velva  (1790  It. ;  inn),  commanding  a  fine  view  of  the 
Apennines  and  the  sea.  On  the  summit  is  a  pilgrimage-church  (Santuario), 
built  in  1805.  We  descend  to  (21  M.)  Vareie  Ligure  (1130  ft. ;  Alb.  degli 
Amici;  Trattoria  Venezia,  with  beds),  and  cross  the  (29  M.)  Passo  di  Cento 
Croci  (3415  ft.;  Alb. -Pens.  Marcone)  to  (41  M.)  Borgotaro  (p.  371).  A  bridle- 
path, following  the  ridge  of  the  Apennines  to  ttie  S.E.  from  the  Passo  di 
Cento  Croci,  leads  to  the  Monte  Gottero  (p.  371)  in  2  hrs. 

The  railway  now  intersects  the  picturt-squehilly  district  of  Sestri. 
Beyond  (31  M.)  Riva-Trigoso  (see  above)  tunnels  succeed  each  other 
in  rapid  succession  all  the  way  to  Spezia.  Several  fine  glimpses  of 
the  sea  and  the  ro>-ky  coast  to  the  right.  —  341/2  M.  Moneglia,  birth- 
place of  Luca  Cambiaso  (1527-86;  p.  80),  the  painter,  has  two  old 
castles.  To  Bracio,  see  above.  —  37'/2  M-  Deiva,  at  the  entrance 
to  a  sitle-valley ;  39  M.  Frnmura.  —  41  M.  Bondssnla,  with  a  ruined 
castle.    To  Baracca,  see  above. 

8* 


116   Route  20.  SPEZIA.  From  Genoa 

43  M.  LevantO.  —  Hotels.    »Gkaiid  Hotel,  R.  from  21/2,  B.  1,  dej.  21/2, 

D.  4,  pens,  from  7,  omu.  3/4  fr. ;  Alb.  Nazionale,  R.  IV2  fr.,  B.  60  c,  pens. 
5-51/2  fr.,  incl.  wine;  Stella  d'Italia,  pens  ,  inc].  wine,  51/2-6  fr.,  both  well 
spoken  of;  Alb.  Europa.  —  Er,gUsh  Church  Service  (.)an.  to  April)  at  the 
Grand  Hotel. 

LevantO.  a  small  seaport  town  -with  2700  inhab.,  occupies  a 
sheltered  situation  on  a  semicircular  bay,  at  the  mouth  of  a  short 
and  wide  mountain  valley.  It  contains  an  old  citadel,  a  fine  Gothic 
church  of  1463,  a  small  Giardino  Pubblico,  and  pood  sea-baths.  In 
clear  weather  the  snow-covered  peaks  of  the  Cottian  Alps  (Monte 
Viso,  etc.)  may  be  descried  to  the  W. 

Ih^"  Monte  V^  (1620  ft.),  I'/ihr.  to  the  E.  ofLevanto,  afford.?  a  magni- 
ficent view  of  the  coast  fiom  Portuflno  to  Porto  Venere,  of  the  Alps,  and 
sometimes  of  Corsica.  A  footpath  skirts  the  mountain  on  Ihe  S.,  via  the 
Pwila  del  ilesco  (see  below)  and  the  rained  cbapel  of  SunV  Anlonio  (1015  ft.), 
to  (i'V*  lir.)  Monterosso  (see  below).  —  From  Levanto  to  Baracca,  see  p.  115. 

Beyond  the  Punta  del  Mesco  (tunnel,  II/3  M.  long)  follow  the 
villages  of  the  Cinque  Terre,  occupying  very  sheltered  situations 
but  cut  off  from  each  other  by  lofty  cliffs.  Oranges,  lemons,  and 
wine  are  largely  produced  here;  the  vines  are  in  many  cases  trained 
upon  wire  over  the  gorges  of  the  streamlets  and  on  the  face  of  sheer 
cliffs,  accessible  only  by  ladders  or  ropes. 

46  M.  Monterosso  al  Mare  (inn)  has  a  Gothic  church  of  1307,  a 
lofty  ruined  castle,  and  an  ancient  watch-tower.  The  pilgrimage 
chapel  of  Madonna  di  Soviore  (1535  ft.),  31/2  M.  to  the  N.E.,  eon- 
tains  a  very  ancient  image  of  the  Virgin.  Fine  view  from  the  (6  M.) 
chapel  of  Santa  Croce  (2025  ft.),  whence  we  may  descend  to  Vernazza. 

48  M,  Vernazza,  with  remains  of  fortifications,  is  situated  on  the 
edge  of  an  overhanging  cliff.  The  Monte  Malpertuso  (2690  ft.)  may 
he  ascended  hence;  descent  to  Corniglia,  to  Kiomaggiore,  or  via 
Biassa  (p.  118)  to  Spezia.  —  Beyond  Vernazza  we  observe  the  traces 
of  an  extensive  landslide  (1853-62). 

50  M.  Corniglia,  with  an  old  church.  —  51  M.  Mannrola,  with 
a  ruined  castle.  —   51 V2  M.  Riomaggiore  (inn).    About  3  M.  to  the 

E.  are  the  old  pilgrimage  chapel  oi  Madonna  di  Monte  Negro  (1115  ft.) 
and  the  Capo  Monte  Negro,  the  S.E.  limit  of  tlie  Cinque  Terre.  — 
Beyond  the  Biassa  Tunnel  (21/2  M.;  7  min.)  we  reach  — 

56  M.  Spezia.  —  Hotels.  'Grand  Hotel  Royal  Ckoce  di  Malta 
(English  landlord).  Via  Mazzini,  in  an  open  situation  near  the  sea,  R.  3^/4-5^4, 
B.  IV2,  dej.  3,  D.  5,  pens.  7-12,  omn.  1  fr.  —  Alb.  Italia,  Via  Chiodo,  with 
view  and  good  trattoria,  R.  3-31/2,  omn.  1  fr.,  Gran  Bretagna  e  Roma, 
close  by,  with  trattoria,  R.  from  2'/2,  omn.  s/i-l  fr-,  both  very  fair;  Alb. 
DEL  GiAPPONE,  Corso  Cavour,  with  frequented  trattoria,  R.  2-21/2,  omn. 
3/4  fr.,  these  two  commercial;  Hot.  Contihental,  Alb.  Firenze,  unpretend- 
ing, both  at  tbe  station. 

Cafe.  Caffi  del  Corso,  C.  Bazzel-Orastan,  near  the  Giardino  Pubblico; 
Stella  Polare.  Corso  Cavour. 

Baths.  Warm  baths  at  the  two  first-named  hotels.  —  Sea  Baths  at  the 
Selene,  Nereide,  and  Iridc  establishments  on  the  N.  side  of  the  gulf,  and  at 
San   Terei:zo  and  Lerici  (p.  118). 

Post  &  Telegraph  Office,  Corso  Cavour.  —  Physician,  Dr.  A.  E.  Leeson. 
H6t.  Croce  di  Malta.  —  Chemists.    Magni,  Praii,  both  Via  Chiodo. 


to  Pisa.  SPEZIA.  20.  Route.    117 

Theatres.  Teatro  Civico,  Piazza  Mentaiia:  Politeama  Duca  di  Oenova, 
I'iazza  Verdi.  —  Music  on  Sun.,  Tues.,  and  Thars.  in  the  Giardiuo  Pubblico. 

Electric  Tramways.  1.  Vinle  Margherita  -  Corso  Cavonr  -  Cantiere  San 
Barlolomeo  (."0  c).  —  2.  Viale  Maraherita- Corso  Caivo-ar -  Migliarina  (15  c.). 
—  3.  Railway  Station- Fossa  Mastra  (20  c;  to  Via  Chiodo,  15  c).  —  Omnibus 
to  Porto   Venere,  twice  daily  (70  c). 

Cabs.  Per  drive  60  c,  at  night  1  fr. ;  with  two  horses  1  and  i>U  I'r. 
Circular  drive  via  La  Foce  and  Sarbia,  with  one  horse  7,  two  horses  10  fr. ; 
to  Porto  Ventre,  8  and  12  fr. ;  to  San  Terenzo  and  Lerici,  10  and  14  fr.; 
carr.  and  pair  to  the  top  of  tbe  Monte  di  Castellana  20,  to  Sestri  Levante 
50  fr.  (carriages  at  L.  CecchVs,  Via  Fazio,  etc.). 

Boat  with  one  rower,  li/j  fr.  the  first  hr.,  1  fr.  each  additional  hr. ; 
for  2  pers.  2  fr.,  and  1  fr.  'JD  c.  each  additional  hr. ;  3  pers.  2V2  fr.  and  1  fr. 
40  c. ;  4  pers.  3  fr.  and  1  fr.  60  c. ;  5  pers.  31/2  and  2  fr. ;  to  the  Stabilimento 
Selene  30  c.  (or  50.  60,  70,  and  SO  c);  to  Le  Orazie  IV2  fr-  (or  1  fr.  80,  2  fr., 
2  fr.  3'',  2  fr.  50  c.) ;  to  Son  Terenzo  2  fr.  (or  2  fr.  40,  2  fr.  80,  3  fr.  20,  3  fr.  80  c.) ; 
to  Porto  Venere  or  to  Lerici,  1  pers.  2'/2fr.,  to  Palmaria  3  fr.  (each  ad- 
ditional pers.  1/2  fr.  more). 

Steamboats  (starting  at  the  Giardino  Pubblico).  Via  Le  Orazie  to  Porto 
Venere,  twice  or  thrice  daily  in  1  hr.,  fare  30  c.;  to  San  Terenzo  unA  Lerici, 
hourly  in  summer,  in  ^/z-^/thT.,  fare  30  c.,  at  other  seasons  twice  or  thrice 
daily.  —  Sea-going  Steamers  to   Genoa  and  Leghorn,  see  p.  77. 

British  Viee-Consul,  E.  M.  de  Garston.  —  English  Church.  Via  Principe 
Amedeo;  services  in  winter  at 8.30,  10.30,  and3.30;  chaplain,  Eev.S.Bunbury, 
Hotel  Croce  di  Malta. 

N.B.  Visitors  must  not  approach  within  330  yds.  of  the  forts  (see  the 
notice-boards),  and  sketching  and  photographing  should  be  avoided. 

iSyezJa  (50  ft. ),  an  industrial  town  witli  38,900  inhab.,  lies  at 
the  N.W.  angle  of  the  Golfo  della  Spezia,  at  the  foot  of  heautiful 
hills  fringed  by  picturesque  villages  and  crowned  with  forts.  The 
climate  is  very  mild,  so  that  Spezia  is  frequented  as  a  winter-re- 
sidence by  the  English  and  for  sea-bathing  in  summer  by  the  Italians. 
The  chief  centres  of  traffic  are  the  Corso  Cavour,  the  Via  Chiodo, 
the  neighbouring  Piazza  Vittorio  Emanuele,  converted  into  an  at- 
tractive Qiardino  Pubblico,  the  Via  Mazzini,  and  the  picturesque 
Viale  Umbefto  Primo,  on  the  coast.  The  Via  Chiodo  leads  to  the 
S.W.  to  the  arsenal  (see  below). 

The  *Gulf  of  Spesin,  upwards  of  51/2  M.  in  length  and  41  o  M- 
wide,  one  of  the  largest  and  safest  natural  harbours  of  the  Mediter- 
ranean, anciently  praised  by  Ennius  as  the  Lunai  Partus,  has  been 
the  chief  naval  harbour  of  Italy  since  1861.  The  entrance  is  pro- 
tected not  only  by  several  hill-forts,  but  also  by  the  Diga  Subacquea, 
a  submarine  breakwater  nearly  2  M.  long,  constructed  in  1874. 
Beside  the  latter,  on  the  shore,  are  the  two  forts  of  Santa  Maria{W. ) 
and  Santa  Teresa  (E.).  —  The  Royal  Naval  Arsenal  on  the  S.  side 
of  the  town,  constructed  by  General  Chiodo  (d.  1870),  whose  statue 
rises  at  the  entrance,  is  a  large  establishment,  220  acres  in  extent 
(no  admission).  Beside  it  are  the  Naval  Barracks  and  the  Hospital. 
The  marine  artillery  magazines  in  the  bay  oi  San  Vito  cover  an  area 
of  150  acres.  The  Cantiere  di  San  Bartolomeo  (p.  118),  on  the  N.E. 
side  of  the  gulf,  serve  as  a  torpedo  station.  —  The  commercial  harbour, 
to  the  N.E.  of  the  town,  is  used,  like  that  of  Avenza  (p.  119),  for 
the  export  of  Carrara  marble. 


118   Route  20.  SPEZIA.  From  Genoa 

ExcuKSioNS.  The  best  survey  (if  the  town  and  harbour  is  afforded  by 
the  "Strada  dei  Colli,  or  Sirada  di  Circonvallazione,  which  diverges  to  the 
left  at  the  end  of  the  Via  Mazzini,  and  is  connected  with  the  town  by 
two  flights  of  steps  also.  It  ascends  above  the  Basiih,  or  citadel,  built 
by  the  Milanese  in  1365,  passing  pretty  country-houses  and  the  Ruiorante 
Uinverso,  to  the  Fort  Castellazzo.  Thence  we  may  return  to  the  (own  on 
the  left,  or  continue  our  walk  by  the  lower  part  of  the  beautiful  road, 
which  leads  from  Harbia  to  the  fort  on  the  Monte  Albano^  passing  high 
above  the  Durasca  Valley,  with  its  pine  and  chestnut  woods.  —  Anothei- 
attractive  round  is  the  Oiro  delta  Face  (carr.,  see  p.  117;  2  hrs.'  walk),  a 
circular  route  leading  via  the  Strada  dei  Colli  and  Sarbia  to  the  pass  of 
La  Face  (790  ft. ;  inn;  p.  115),  and  returning  via  Chiappa  and  tlie  Porta  Qenova. 
Near  La  Foce  is  the  stalactite  cavein  of  Bocca  Lnpara,  containing  a  spring 
(key  at  the  Municipio  in  Spezia).  —  Another  picturesque  road  leads  to 
the  S.W.  from  La  Foce  to  the  fortified  Monte  VerugoU  (2425  ft.)  and  Monte 
Bramapane  (2190  ft.),  and  returns  thence  to  the  town  via  Biassa  and 
Pegazzano.  About  halfway  a  branch  road  diverges  for  the  Monte  Parodi 
(2215  ft.),  of  interest  to  geologists. 

A  charming  '^Excursion  may  be  made  to  Porto  Venere,  either  by 
steamer  (see  p.  117)  or  via  the  highroad  (7  M. ;  carr.  and  omnibus,  see 
p.  117),  which  describes  a  wide  curve  round  the  arsenal,  and  then  skirts 
the  S.W.  shore  of  the  gulf,  via  Marola.  Cadimare,  Fezzano,  Panigaglia, 
and  Le  Orazie  (steamboat-station,  see  p.  117). 

Porto  Venere  {Trattoria  del  Genio,  Ristorante  Belvedere,  both  clean),  on 
the  site  of  (ho  ancient  Portiis  Veneris,  with  well-preserved  fortifications 
built  by  the  Genoese  in  1113  and  vainly  attacked  by  the  Spaniards  and 
Neapolitans  in  1494,  is  situated  in  a  calm  and  sheltered  bay,  on  a  pro- 
montory separated  from  the  island  of  Palmaria  by  a  strait,  16()  yds.  wide. 
It  is  celebrated,  like  Palmaria,  for  a  yellow-veined  black  marble,  known 
as  'Portoro\  Charming  prospect  from  the  ruined  church  of  San  Pietro, 
rising  high  above  the  sea,  and  supposed  to  occupy  the  site  of  the  temple 
of  Venus.  Be(ween  two  rocks  beneath  the  church  is  the  Qrotla  Arpaia 
(accessible  by  steps;  fee),  or 'Byron''s  Grotto' (inscription),  where  the  poet 
is  said  to  have  written  much  of  his  'Corsair'.  —  The  island  of  Palmaria 
(613  ft.),  crowned  by  a  fort  containing  a  penitentiary,  commands  a  fine 
view  of  the  Italian  coa'^t  from  Portoflno  (o  Viareggio ;  best  from  beside 
the  light-house  on  the  Capo  deW  /sola,  the  S.  extremity.  On  a  cliff  at  the 
N.E.  extremity  is  the  curious  old  Torre  delta  Sci/ola.  The  Grolta  Aizurra 
and  the  Cala  Grande,  two  interesting  caves  on  the  precipitous  W.  coast, 
are  most  conveniently  visited  in  the  course  of  an  expedition  round  the 
island  from  Porto  Venere  (2  hrs. ;  5  6  fr.  by  bargain).  —  Another  fine  view 
is  obtained  from  Tino  (300  ft.),  a  rocky  islet  to  the  S.  of  Palmaria,  with 
a  signal-station,  castle,  and  ruined  abbey. 

From  Le  Orazie  (see  above)  a  military  road  ascends  to  the  fortified 
8ummi(s  of  the  Monte  di  Castellana  (1627  ft.)  and  Monte  Muzzerone  (1045  ft. ; 
signal-station);  on  the  wav  'View  of  the  gulf  and  of  the  precipitous  coast 
of  the  Cinque  Terre  (p.  116). 

Of  the  excursions  on  the  N.E.  side  of  the  gulf,  that  to  the  Bay  of  Lerici 
is  the  finest  (steamer  and  carr.,  see  p.  117).  The  road  to  Lerici  s'cirts 
the  somewhat  swampy  N.  coast  of  the  gulf,  passing  the  bathing-establish- 
ments (p.  116)  and  the  commercial  harbour  of  Spezia,  and  then  ascends 
to  the  N.E.,  beyond  the  (2V2  M  )  StaUlimento  Pirelli  (submarine  cable 
works),  among  fortified  hills  and  olive-groves  to  the  prettily  situated 
village  o(  Pitelli.  Another  road,  diverging  to  (he  right  at  the  Stabilimento 
Pirelli,  leads  past  the  Cantiere  di  San  Bartolomeo  (p.  117;  tramway,  p.  117) 
and  the  lead-foundries  of  Pertusola,  and  rejoins  the  main  road  beyond  Pitelli. 
The  main  nad  then  descends  via  Solaro  and  Pugliola  (p.  119)  to  Lerici. 

Lerici  (Alb.  Croce  di  Malta,  R.  I1/2  fr. ;  Alb.  Parma),  a  small  seaport 
with  4300  inhab.,  a  Romanesque  church,  and  an  imposing  12lh  cent,  castle 
(now  a  marine  observatory;  no  adm.),  was  the  capital  of  the  Gulf  of  Spezia 
in  the  Middle  Ages.  Its  sheltered  site  and  charming  environs  adapt  it  for  a 
residence   of  some    duration.   —   A    road   leads   from  Lerici    to  the  W.  to 


to  Pisa.  SARZANA.  20.  Route.   119 

0»/h  M.)  San  Termzo  (with  a  ca?tle  and  sea-batlis;  30  c.),  where  Shelley  spent 
his  liist  days.  The  Casa  Maccarani,  formerly  Casa  Magni,  nenr  the  village, 
was  occupied  by  Lord  Byron  in  18y?.  —  Another  road  (omnibus  four  times 
daily,  60  c.)  unites  I.eriei  with  PuglioUi  (p.  118)  and  (41/2  M.)  Sarzana  (see 
below).  —  The  picturesque  iishing-village  of  TUaro  lies  3  M.  to  the  S.E. 
of  Lerici  by  a  pretty  footpath  passing  below  the  village  of  Serra.  From 
Telaro  we  may  prolong  our  walk  eitlier  to  tlie  E.  over  abrupt  ridges  and 
boulder-strewn  fields  to  (1  hr.)  Amejlia  (see  below),  or  to  the  S.E.  via 
the  village  oi  Monte  Marcello  (SIO  (t.;  signal-station)  to  the  (I'/z  hr.)  mouth 
of  the  Miigra  (see  below). 

Railway  from  Spezia  to  Parma  (Milan),  see  R.  62. 

Soon  after  quitting  Spezia  we  enjoy  a  beautiful  view  of  the  Gulf 
of  Spezia  to  the  right.  —  Beyond  (61  M.)  Vezznno  Ligure  (p.  371), 
whence  the  line  to  Parma  diverges  to  the  N.,  we  see  to  the  left 
the  Alpi  Apuane  (K.  21).  —  62'/2  M-  Areola,  with  a  conspicuous 
campanile.  The  train  crosses  the  broad  Magra,  the  ancient  Macra, 
which  formed  the  boundary  between  Etruria  and  Ligtiria. 

6G  M.  Sarzana  (86  ft.  ;  Alb.  cV Italia,  K.  '2  fr, ;  Alb.  di  Londra, 
very  fair),  with  6500  inhab.,  Rom.  Sergiana,  or  Luna  Nova,  from 
its  having  sticceeded  the  ancient  Lnna  (see  below),  was  taken  by  the 
Florentines  in  1467  under  Lorenzo  Magniflco,  from  whom  it  was 
wrested  by  Charles  Vlll.  of  France.  It  subsequently  belonged  to 
Genoa.  Sarzana,  the  seat  of  a  bishop  since  1204,  was  the  birthplace 
of  Pope  Nicholas  V.  (Tommaso  Parentucelli,  1447-55).  The  town, 
whicli  is  situated  in  a  fertile  plain,  Is  noted  for  its  well-preserved 
Town  Walls  of  the  15th  century.  The  handsome  Cathedral  of  white 
marble,  in  the  Italian  Gothic  style,  re-erected  in  1340-55,  contains 
an  ancient  painted  crucifix  from  Luni.  In  San  Francesco  are  the 
tomb  Guarniero,  a  son  of  Castrucdo  Castracani  (p.  442),  by  Giov. 
di  Balduccio,  and  two  tombs  of  the  Malaspina  family.  A  pleasant 
and  well-shaded  promenade  skirts  the  town  on  the  8.  On  the  verge 
of  the  hiU  (numerous  villas),  ^/^  M.  to  the  N.,  is  the  picturesque 
fortification  of  Sarzanello,  constructed  by  Castruccio. 

ExcuEsioNs.  To  tlie  N.E.  to  Fosdinovo  (p.  364),  on  the  road  to  Fivizznno 
(Reggio).  —  To  the  S.E.  to  (41/2  M)  Castelnuoro  di  Magra  (620  ft.),  with  a 
castle  of  1274.  —  To  the  W.  via  (l»/i  M.)  Ponte  di  Magra  to  Lerici  (comp. 
above).  —  To  the  S.E.  along  the  right  bank  of  the  Magra  to  (5  M.)  Amcglia 
(inn;  .<:ee  above),  or  by  the  river-plain  to  the  Iishing-village  of  <Santa  Crvce, 
at  the  mouth  of  the  "Magra  (abounding  in  eels ;  very  picturesque  river- 
landscape),  with  tlie  remains  of  a  monastery  in  which  Dante  is  said  to 
have  ouco  lived.  Hence  we  may  proceed  to  the  N.W.  via  Monte  Marcello 
to  Teliiro  and  Lerici  (coinp.  above);  or  we  may  crops  to  tlie  left  bank  of 
the  Magra  (ferry  V2  *'>■■)  •'•nd  walk  along  the  shore  to  the  E.  to  (I1/2  hr.) 
Marina  d'Avenza  (p.  120). 

Railway  from  Sarzana  to  Parma  (Milan),  sec  R.  5'2. 

On  the  Alpi  Apuane,  to  the  left,  we  observe  the  conspicuous 
white  ravaneti  (p.  120).  —  Near  (691/2  M.)  Luni  are  the  ruins  of 
Luna.  This  originally  Etruscan  town  was  destroyed  by  the  Arabs 
(1016),  and  its  episcopal  see  was  in  consequence  transferred  to 
Sarzana  in  the  13th  cent.  The  ruins  of  an  amphitheatre  and  a  theatre 
are  still  traceable.  From  Luna  the  district  derives  its  name  of  La 
Lunigiana. 


120   Route  20.  CARRARA.  From  Genoa 

72  M.  Avenza,  above  which  rises  an  old  castle  of  Gastruccio 
Castracani,  of  1322,  with  bold  round  towers  and  pinnacles,  was 
once  the  frontier-town  of  the  Duchy  of  Massa.  It  is  now  in  Tus- 
cany. On  the  coast  to  the  S.E,  lies  Marina  d' Avenza  or  Marina  di 
Carrara,  with  a  pier  300  yds.  in  length,  the  terminus  of  the  marble- 
railway  mentioned  below. 

Bkanch  Railway  in  1/4  l^'-  (fares  60,  45,  30c.);  one-horse  earr.  1  fr.) 
to  (3  M.)  - 

Carrara  (Alb.  della  Posta,  very  fair,  R.  2V2,  omn.  >/2  fr- ;  -^ib.  Roma, 
R.  I'/sfr. ;  one-Lorse  carr.  to  Massa,  3-4  fr. ;  omn.,  see  \>.  121),  a  pleasant 
little  town  with  21,000  inliab.,  most  of  whom  gain  their  livelihood  by 
working  the  marble.  Some  of  the  studios  of  the  numerous  sculptors  are 
interesting.  American  Consular  Agent,  Ulisse  Boccacci.  —  From  the  rail, 
station  we  turn  to  the  right  into  an  avenue  ot  plane-trees,  cross  the  Car- 
rione  (right),  and  then  follow  the  Via  Vitlorio  Emanuelc,  the  main  street 
of  the  town,  to  the  left.  This  passes  the  Theatre  and  leads  to  the  Piazza 
Alberica,  which  is  embellished  with  a  statue  of  the  Grand  Duchess  Maria 
Beatrice  (1861).  —  The  Via  Alberica  runs  hence  to  the  right  to  the  Piazza 
deir  Accademia,  with  the  former  ducal  palace,  now  the  Aocademia  di 
Belle  Aeti,  containing  works  by  sculptors  of  Carrara  and  several  Roman 
antiquities  found  in  the  quarries  of  Fantiscritti  (see  below ;  e.g.  a  bas- 
relief  of  Jupiter  with  Bacchus).  —  Not  far  off  is  the  church  of  Sant' 
Andbb.4,  a  Gothic  structure  of  the  13th  cent.,  with  a  fine  facade  and  good 
sculptures.  The  church  of  the  Madonna  delle  Orazie  with  sumptuous  de- 
corations in  marble  of  a  more  recent  date,  the  Gothic  Casa  liepetli,  and 
the  fine  Gi'irdino  Pubblico  are  also  worth  a  visit. 

The  Uarble  Cluarries  (Cave)  of  Carrara  enjoy  a  worldwide  fame. 
The  deposits  of  marble  occur  throughout  almost  the  whole  of  the  Apuari 
Alpt  ['R,.2i),  from  the  little  river  Aulclla  on  the  N.  to  Pietrasanla  (p.  121) 
on  the  S.  and  Castelnuovo  di  Garl'agnana  (p.  371)  un  the  E.  The  quarries 
in  the  valleys  of  FaniUcritii,  Colonnata,  aud  Torono  were  worked  by  the 
Romans,  hut  after  the  downfall  of  the  West  Roman  Empire  the  'marmor 
Lunensis'  (so  named  from  the  seaport  of  Luna,  p.  119)  was  almost  entirely 
forgotten.  The  building  of  the  cathedral  of  I'isa  and  the  churches  of 
Lucca,  Pistoia,  and  other  neighbouring  towns  again  created  a  demand  for 
Carrara  marble ;  and  the  artistic  activity  of  the  i5-16th  cent,  gave  a  renewed 
impulse  to  its  use.  The  industry  now  grows  steadily;  in  1901  about 
204,(X)0  tonr!  of  rough  blocks  were  exported,  besides  164,€00  tons  of  sawn 
blocks  and  29,700  tons  of  otherwise  worked  blocks.  About  635  quarries 
in  all  are  in  operation ;  of  these  411,  with  ca.  5SU0  workmen,  are  at  Carrara, 
89  (1100  men)  at  Massa,  and  the  reit  in  the  Versilia  (p.  121)  and  at  Ami  (p.  1 24). 
There  are  74  marble-sawing  works  at  Carrara  and  33  at  Massa.  The  best 
and  largest  blocks  yield  the  mat  mo  statuavio.  —  The  quarrymen ,  who 
receive  1-3  fr.  per  day,  work  from  8  to  4  in  winter,  in  summer  from  5  to  3. 

A  visit  to  the  quarries  (2-3  hrs. ;  guide,  not  indispensable,  2-3  fr.)  is 
best  made  early  in  the  morning  when  the  weather  is  vyarm.  From  the 
above-mentioned  Piazza  dell'  Accademia  we  follow  the  Via  Santa  Maria  to 
the  end  of  the  town  and  ascend  the  valley  along  the  left  bank  of  the 
Carrione.  At  (1/4  M.)  a  group  of  houses  a  path  diverges  to  the  right  to 
large  quarries  of  inferior  marble,  but  we  continue  to  follow  the  road, 
passing  numerous  marble  cutting  and  polishing  works.  At  the  entrance 
to  the  (1  M.)  village  of  Torano  we  turn  to  the  right  and  climb  the  steep 
lanes  to  the  marble  railway  (see  below),  the  metals  of  which  we  follow 
in  the  narrow  shadelesg  upland  valley,  passing  numerous  quarries,  to  (1  M.) 
the  station  of  Piastra.  We  may  push  on  to  the  highest  station  (small  re- 
staurant), but  the  ascent  is  fatiguing,  and  the  visitor  will  probably  he 
satisfied  by  the  quarries  and  expanses  of  dazzling  white  debris  (ravaneti) 
already  seen.  A  horn  is  blown  as  a  signal  when  the  rock  is  about  to  be 
blasted.  The  blocks  of  marble  are  roughly  squared  on  the  spot.  Some- 
times they  are  sinii'ly  rolled  down  the  mountain,  but  usually  they  are 
carried  down  on  rude  wooden  sledges  (lizze)  descending  steep  paved  slip- 


to  Piaa.  VIAHEGGIO.  20.  Route.   121 

ways  provided  with  soaped  wooden  rollers,  and  controlled  by  hempen  cables 
wound  round  posts  at  the  sides  of  the  slipways.  At  the  foot  they  are  carried 
away  on  ox-waggons,  either  to  Ihe  ships  direct  or  to  the  railway  (Ferrovia 
Marmi/era),  wbich  sends  branches  into  two  of  the  lateral  valleys.  Visitors 
are   sometimes   allowed   to  ride  in  the  trains;   the  tunnels  are  very  cold. 

Ascent  of  the  Monte  Sagro  from  Carrara,  see  p.  123. 

TG'/q  M.  Massa  (213  ft;  H6tel  Massa,  with  garden,  R.  2-2V2, 
pens.  71/2  fr.,  Alb.  il  Giappone ,  R.  2,  ouin,  1/2  fr.,  both  very  fair; 
omn.  from  the  station  to  the  Piazza  Dmherto  Primo  and  thence  to 
Carrara),  formerly  the  capital  of  the  Duchy  of  Massa-Carrara,  with 
10,600  inhab.,  is  pleasantly  situated  on  the  Frigido  amidst  marhle- 
yieldiiig  hills,  and  enjoys  a  mild  climate.  The  handsome  Palazzo 
Ducale  (1701 ;  now  the  prefecture),  with  its  fine  court,  was  a  sum- 
mer-residence of  Napoleon's  sister  Elisa  Bacioochi  (p.  442).  The 
loftily  situated  Eocca,  now  a  prison,  3/^  M.  to  the  N.E.,  commands 
a  splendid  view  (permesso  at  the  prefecture). 

A  Light  Raii-wat  (20  niin.;  fares  25,  20c.)  runs  from  Massa  to  the 
little  port  (>f  San  Giuseppe  or  Marina  di  Massa  (Gr.  Hot.  Tirreno,  R.  27^3, 
pens,  from  7  fr.),  3  M.  to  the  S.W.,  near  the  mouth  of  the  Frigido,  with 
sea-baths.  The  wooden  jetty,  where  marble  is  shipped,  affords  a  splendid 
view  of  the  coast  from  Porto  Venere  to  Viareggio,  and  of  the  Alpi  Apuaue. 

Excursion  from  Massa  to  the  Alpi  Apxuxne  see  K.  21. 

We  now  pass  through  extensive  olive-woods;  to  the  left  lies  the 
village  of  Montuinoso  (325  ft.)  with  the  picturesque  ruins  of  the 
Castello  Aghmolfi  on  a  steep  hill.  —  BO'/o  M.  Serravezza  is  the 
station  for  the  village  of  that  name  (p.  124),  which  lies  2  M.  to  the 
N.E.  Beside  the  station  is  the  hamlet  of  Querceta  (Alb.  nl  Monte 
Altissimo).  —  About  2  M.  to  the  S.W.  lies  Forte  dei  Marmi,  a  little 
seaside  resort  surrounded  by  pine-woods,  with  a  quay  for  shipping 
marble. 

83  M.  Pietrasanta  (Alb.-Bist.  Ballerini;  Alb.  Garibaldi),  a  small 
town  (8700  inhab.)  with  ancient  walls,  the  capital  of  the  Versilia, 
beautifully  situated,  was  taken  by  the  Florentines  in  1484,  At  the 
beginning  of  the  town  is  the  Kocchetta,  a  relic  of  the  fortitications. 
The  cathedral  of  San  Martina  (11  Duomo)  dates  from  the  I4th  cent.; 
the  interior,  modernized  in  the  17th  cent.,  contains  a  pulpit  and 
sculptures  by  Stagio  Stagi.  Campanile  of  1380.  Sanf  Agostino  is 
an  unflnished  Gothic  church  of  the  14th  century.  To  the  S."VV.  of 
the  town  rises  the  Rocca,  the  imposing  castle  (13th  cent.).  —  Near 
Pietrasanta  are  quicksilver-mines  and  marble-quarries.  Excursion 
to  the  Alpi  Apuaue,  see  R.  21. 

89'/2  ^1-  Viareggio.  —  Railway  Station  at  the  K.  end  of  the  town, 
Yi  M.  from  the  beach. 

Hotels  (mostly  overcrowded  in  summer  and  prices  raised;  tbe  larger 
houses  have  steam-heatinj:).  'Grand  Hotel  Rovai,,  in  an  open  situation, 
with  a  small  garden,  U.  from  3  fr.,  B.  l-lV'i,  di'j.  3,  D.  5,  pens.  6-8  (in 
summer  9-12),  onm.  i  fr. ;  Ge.  Hot.  de  Rissie,  R.  from  41/2,  B.  11/4,  dej.  8V2, 
D.  4V2,  pens.  8-12  fr  ;  these  two  in  the  Via  Manin,  at  the  corner  of  the 
Piav.za  il'Azeglio;  'Hot.  d'Italie  ,  R.  from  2V2  fr.,  L-  36  c.,  B.  1,  dej. 
2-2Vv,  D.  3V2-4,  pens.  6-8  fr.,  well  managed;  Hot.  db  Pabis-Soleil;  'Hot. 
DE  Rome,  wiih  small  garden,  pens.  d-V/i  (in  summer  8-10)  fr. ;  these  three 
iu  the  Piazza  d'Azeglio;  "Hot.  dk  Nice,  Viale  Ugo  Foscolo,  good  cuisiue; 


122   Route  20.  VIAREGGIO. 

'H6t.  dk  Florence,  R.  from  21/2  fr.,  B.  80  c.,  d^j.  2,  D.  3,  pens.  (L.  extra) 
5-7  (in  summer  6-8)  fr. ;  Hot.  de  la  Paix,  both  Via  Manin^  Hot.  Gbandb 
Bretagne,  Via  San  Martino,  at  the  corner  of  the  Via  Manin,  pens.  7-9  fr. ; 
Hot.  Aqcila  d'Oko,  Via  Ant.  Fratli,  with  restaurant;  Alb.  Vittoria.  Via 
Eegia,  at  the  corner  of  the  Piazza  del  Mercato,  '/«  M.  from  the  station, 
both  unpretending;  Alb.  k  Trattoria  la  Stazione,  Via  Fontanella,  at  the 
station,  R.  2  fr.,  unpretending.  —  Pension:  English  Pension  Villa  Shelley, 
Via  Zanardelli  84,  pens.  6-7  fr.  —  Apartments  moderate. 

Cafes.  Caffe  del  Teatro.,  Piazza  Vittorio  Emanuele;  Caffi  del  Casino, 
in  the  Casino  (see  below),  Piazza  Blanzoni;  and,  in  summer,  several  cafes 
and  confectioners  in  the  Via  Manin. 

Cabs.  Per  drive  1  pers,  1  fr.,  several  pers.  I'/z  fr- ;  per  hr.  within 
13/4  M.,  2  fr.,  each  addit.  hr.  l'/2  fr. ;  longer  drives  according  to  bargain. 
Same  fares  at  night.     Hand-luggage  free;  trunk  30-50 c. 

Post  &  Telegraph  Office,  Piazza  ViKorio  Emanuele  Secondo.  — Theatres. 
Heale  Teatro  Pacini,  Piaz/a  Vitt.  Kman.  Secondo;  Casino,  Piazza  Manzoni; 
Politeaina,  open-air  theatre,  on  the  beach. 

Sea  Bathing  at  the  •  Stabilimento  Nettuno  and  Balena,  both  with  restau- 
rants, l)all-rooms,  and  skating-rinks ;  Bagno  di  Felice.  —  Beggars  and  hawkers 
are  exceedingly  troublesome  on  the  beach  in  summer. 

English  Church,  Via  Sanf  Andrea  144;  services  in  winter;  chaplain, 
Rei'.  A.  J.  Ard,  Via  Zanardelli  23. 

Viareggio  (13  ft.),  founded  by  Lucca  in  1171,  is  a  quiet  country- 
town  (14,900  irihab.),  with  regular  and  mouotonous  streets,  situated 
in  a  spacious  and  somewhat  marshy  plain  on  the  sea,  about  3  M. 
to  the  S.E.  of  the  spurs  of  the  Alpi  Apuane.  Its  excellent  sandy 
beach  attracts  numerous  sea-bathers  (especially  from  Tuscany)  in 
July  and  Aug.,  and  in  spite  of  its  want  of  protection  against  the 
wind  it  is  occasionally  visited  as  a  winter-station. 

From  the  railway-station  a  road  leads  to  the  W.  direct  to  the 
beach,  crossing  the  Ponte  di  Pisa,  skirting  the  Fosso  Burlamacca 
(here  known  as  the  Porto  Canale),  the  discharge  of  the  lake  of 
Massaciuccoli  (p.  128),  and  passing  the  Darsena  Vecchia  and  Dar- 
sema  Nuova,  two  small  harbours.  From  the  end  of  the  N.  Molo 
(220  yds.  long),  at  the  mouth  of  the  canal,  we  enjoy  a  splendid 
view  of  the  Alpi  Apuane  and  of  the  coast  from  Leghorn  to  the 
Gulf  of  Spezia. 

The  Via  Manin,  skirting  the  beach,  and  the  Piazza  d'Azeglio, 
with  its  gardens,  are  the  favourite  resorts  of  visitors.  The  Piazza 
Principe  Amedeo,  adjoining  the  Via  Manin  to  the  W.,  is  embellished 
with  a  Monument  to  Shelley  (p.  437),  by  Urbano  Lucchesi. 

On  the  side  of  the  pedestal,  encircled  by  intertwined  branches  of  oak 
and  olive,  is  a  book  bearing  on  its  cover  the  word  'Prometeo'.  Above 
this  is  the  following  inscription:  —  '1894  to  P.  R.  Shelley,  heart  of  hearts, 
in  1822  drowned  in  this  sea,  consumed  by  fire  on  this  shore,  where  he 
meditated  the  addition  to  'Prometheus  Unbound'  of  a  posthumous  page  in 
which  every  generation  would  have  a  token  of  its  struggles,  i(s  tears, 
and  its  redemption'. 

The  Pineta,  or  pine-forest,  of  Viareggio,  extends  for  6  M.  along 
the  coast  to  the  N.  It  belongs  to  the  town  and  is  open  to  visitors, 
and  is  reached  from  the  Via  Manin,  etc.  In  the  somewhat  neglected 
pine-forest  to  the  S.  of  the  town  (the  property  of  Archduke  Leopold 
Salvator  of  Austria)  is  the  Villa  dei  Borboni,  built  for  the  Arch- 


APUAN  ALPS.  21.  Route.    123 

duchess  Marie  Louise  (p.  365).  The  villa  is  entered  (permesgo 
essential)  from  the  Via  della  Fornace,  near  the  old  harhour. 

From  Viareggio  a  narrow-gauge  railway  runs  to  the  N.E.  in  ca.  V2  l"". 
to  (7  M  )  the  liltle  town  of  Camaiore  (147  ft.;  Alb.  il  Giardinetto) ;  2  M. 
to  the  E.  lies  the  Piere  di  Camaiore,  a  Romanesque  church  founded  at  a 
very  early  date.  From  Camaiore  a  road  leads  to  the  S.E.  via  (S'/i  ^•) 
Mvntemagno  (735  ft.)  to  (Irji/z  M.)  Lucca  (p.  442). 

A  pleasant  Drive  (or  cycle  tour)  may  be  made  to  (6  M.)  Pietrasanta 
(p.  121)  or  to  the  Lago  di  Massaciuccoli  (2V2sq.  M.;  8  ft.  deep),  near  the 
station  of  Torre  del  La^o  (see  below).  Near  the  village  of  Massacinccoli, 
at  the  E.  end  of  the  lake,  are  the  so-called  Bagni  di  N^erone,  a  Roman 
ruin.     The  lake  may  be  reached  by  boat  on  the  canal. 

Fkom  Viakeggio  to  Ldcca,  I4V2  M.,  branch-railway  in  V*  ^^-  ^'i^  (6  M.) 
Massarosa  and  (S'/j  M.)  Nozzano.  From  Lucca  (p.  442)  to  Florence  via 
Pistoia,  see  p.  449;  to  Bologna  via  PLstoia,  see  pp.  149,  450,  and  408,  407. 

The  Railway  traverses  a  thick  pine-wood  (Macchia  di  Migliarino) 
beyond  (9272*1.)  Torre  del  Lago,  and  at  (_97V2  M.)  Migliarino 
crosses  the  Serchio  (p.  427). 

102'/2  M.iPisa  (p.  426).  To  the  left,  before  we  enter  the  station, 
rise  the  cathedral,  baptistery,  and  campanile.  We  then  cross  the 
Amo. 


21.  The  Apuan  Alps. 

The  name  of  the  Alpi  Apiiane  is  derived  from  the  warlike  tribe  of 
the  Apvani,  subdued  by  the  Romans  in  180  B.C.  and  mostly  transferred 
to  Samnium.  Along  with  the  mountain  chains  of  Spezia  they  constitute 
an  independent  system,  geologically  allied  with  the  Maritime  Alps.  They 
consist  mainly  of  hard  limestone  rocks,  to  the  pronounced  crystalline 
formation  of  which  is  due  their  extraordinary  wealth  of  marble  (p._i20); 
but  older  slate  formations  also  occur,  as  in  the  Monte  Pisanino  (6385  ft.), 
the  highest  summit  of  the  group.  The  Apuan  Alps  are  separated  by  the 
deep  valleys  of  the  Aulella  and  the  Serchio  from  the  Etruscan  Apennines; 
and  their  boldly  shaped  peaks  stand  in  vivid  contrast  to  the  flat  rounded, 
summits  of  the  latter,  which  in  winter  are  much  more  thickly  covered 
with  snow.  The  best  periods  for  excursions  in  this  comparatively  little 
known  but  beautiful  mountain  region  are  from  April  to  June  and  in 
September  and  October.  In  summer  the  midday  sun  is  too  hot  for 
exertion.  In  clear  weather  the  peaks  command  fine  views  of  the  Apen- 
nines, the  fertile  vales  of  the  Magra  and  the  .Serchio,  of  the  coast-line 
from  Spezia  to  Leghorn,  and  of  the  Tuscan  inlands  and  the  distant  Corsica. 
Only  the  chief  routes  are  given  in  our  description  below. 

1.  Carrara  (p.  120)  is  the  best  starting-point  for  the  fatiguing  but 
repaying  ascent  of  the  Monte  Saijro  (5740  ft.;  4'/2lii'S-,  '^'ia  Torano). 

2.  From  Massa  (p.  121)  a  road  ascends  the  picturesque  Val 
Frigido,  to  the  N.E.,  to  (4l/oM.)  Forno,  whither  a  light  railway  also 
runs  on  Sun,  (4  trains  in  60  min.).  At  Guadine  (485  ft),  a  little 
short  of  Forno,  a  road  diverges  to  the  right  for  the  village  ofResceto 
(1625  ft. ;  inn  ;  guide,  G.  Conti),  7'/2  M-  from  Massa.  A  broad  path, 
interrupted  at  places,  ascends  from  Kesceto  to  the  (3  hrs.)  Pasfo  della 
Tambura  (6315  ft.),  lying  between  the  Monte  Tamhura  (6200  ft. ; 
view),  3/4  hr.  to  the  N.,  and  the  Alio  di  Sella  (5655  ft. ;  ascent  dif- 
flcult).  Thence  we  descend  to  the  N.E.,  via  Vagli  di  Sopra  (2380  ft. ; 
good  inn)  and  Vagli  di  Sotto  (1970  ft.)  to  (81/2  hi"sO  Camporgiano 


124   Route  '27.  PONTE  STAZZAMESE. 

(p.  371),  in  the  valley  of  the  Serchio.  — The  Passo  delta  Focolaccia 
(5465  ft. ;  near  it  to  the  8.  the  Rifagio  Aronte  of  the  I.  A.  G. ;  key 
at  Resceto),  3  hrs.  to  the  N.  of  Resceto,  is  the  starting-point  for  the 
difficult  ascent  of  the  Monte  Pisanlno  (6385  ft.). 

3.  A  high-road  (omnibus  to  PoTite  Stazzeniese  50  c,  carr.  5  fr.) 
runs  to  the  N.  from  Pietrasanta  (p.  121)  up  the  valley  of  the  Serra 
to  Serravezza  (180  ft.;  railway-station,  see  p.  1*21),  formerly  a  resi- 
dence of  the  Grand-duke  of  Tuscany.  The  Casino  Ducale  here  was 
built  for  Cosimo  I.,  by  Rart.  Ammanati.  The  large  marble-quarries 
at  Serravezza  were  opened  In  1518  by  Micliael  Angelo,  on  behalf  of 
Pope  Leo  X.  Farther  on  the  road  enters  the  Val  di  Vezza  to  the  E., 
and  proceeds  via  (5  M.)  VArgentera,  a  very  ancient  silver-mine,  and 
(51/2  M.)  Ruosina,  to  (8</2  M.)  Ponte  Stazzemese  (565  ft.;  Alhergo 
Milani;  guides,  L.  Bianchini  and  others). 

A  highly  picturesque  mountain-road  leails  to  the  N.  from  Ruosina  to 
the  (8  M.J  CipoUaio  Tunnel  (.2640  ft.),  1200  yds.  long  and  entirely  unlighted, 
and  to  the  marble-quarries  in  the  romuutic  valley  of  the  Turriie  Secca, 
lielow  the  milling  village  of  Ami  (^005  ft.;  inn).  From  Arni  we  may 
ascend  via  the  Passo  cli  Sella  (5020  ft.)  tii  Vagli  di  Sopra  (p.  123). 

Ponte  Stazzamese  offers  the  best  headquarters  for  the  exploration  of 
the  S.  portion  of  the  Alpi  Ajjuane.  To  the  N.  we  proceed  via  Volegno 
(1390  ft.)  and  the  (21/4  brs.)  Foce  di  Moscela  (4100  ft.;  refuge-hut),  where 
a  bridle-path  diverges  for  Ruosina  via  Levi'jUani,  to  the  top  of  the  (4  hrs.) 
"Pdnia  della  Croce  (6100  ft.),  long  famous  as  a  point  of  view.  To  the  K.E. 
v/e  may  ascend  the  Monte  Forato  (4015  ft.),  via  Cardoso  (885  ft.);  on  the 
top  is  a  curious  rock-aroh  resembling  a  window.  To  the  E.  rises  the 
Monte  Procinto  (3860  ft.),  the  wooded  summit  of  which,  surrounded  on  all 
sides  by  sheer  precipices  nearly  500  {>.  deep,  is  celebrated  by  Ariosto  as 
'the  abode  of  Suspicion'.  The  route  (3  hrs.)  leads  via  Stazzima  (1410  ft.), 
with  its  13th  cent,  church  (interesting  sculptures  on  the  portal),  and  the 
(2  hrs.)  Alpe  delta  Orotta  (2840  ft.),  where  we  find  the  guide  (G.  Gherardi, 
2  fr.).  The  flnal  ascent  (1  hr.),  by  means  of  ladders  and  steps,  should  be 
attempted  only  by  climbers  with  steady  heads. 

From  the  Alpe  della  Grotta  (see  above),  we  proceed  via  the 
Callare  di  Matanna  (3705  ft.),  a  pass  1/2  ^^-  to  the  i>f.  of  the  Monte 
Matanna  (4320  ft.),  to  (i  hr.)  the  Plan  d'Orsina  (3410  ft.;  inn, 
pens,  b^l^-l  fr.),  with  its  attractive  mountain-pastures.  A  path 
indicated  by  red  marks  leads  hence  to  the  E.  via  Palignana  (2440  ft. ; 
Alb.  Matanna)  to  (2  hrs.)  F'ibbrkhe,  and  thence,  in  21/2  li^s.  more, 
Anally  traversing  the  valley  of  the  Serchio,  to  the  Bagni  di  Lucca 
(p.  448). 


IV.  Lombardy. 


11.   Milan f28 

a.  From  the  Piazza  del  Diiomo  to  the  Central  Station. 
Northern  (Quarters  of  the  City.  The  Brera,  1.31.  —  b.  From 
the  Piazza  del  Duomo  and  the  Piazza  de'Me:canti  to  the 
Castello  and  the  Arco  della  Pace,  146.  —  c.  West  Quar- 
ters of  the  City.  Biblioteca  j^mbrosiana.  Santa  Maria 
delle  Grazie.  Sant'  Ambrogio,  151.  —  d.  Along  the  Via 
Torino  to  the  Southern  Quarters  of  the  City  (San  Lorenzo, 
Sant'Eustorgio,  OspedaleMaggiore),  156.  —  e.  East  Quarters 
of  the  City.  Corso  Vittoiio  Emanuele  and  its  Side 
Streets.    Giardini  Pubblici,  159.  —  f.  The  Cemeleries,  161. 

Excursion  to  the  Certosa  di  Pavia 161 

-B.   From  Milan  to  Oonio  via  Saroniio 164 

'24.   From  Milan  to  Como  and  Lecco  (Colico)  via  Moiiza  .    .    165 

25.  From  Milan  to  Bellagio.    The  Brianza 171 

26.  Lake  of  Como i?.'} 

From  Colico  to  the  Val  Tellina  and  to  Bovmio,  180. 

27.  From  Menaggio,   on  the  Lake  of  Como,  to  Lugano  and 

to  Luino,  on  the  Lago  Maggiore 182 

28.  From  Milan  to  Porto  Ceresio,  on  the  Lake  of  Lugano,  via 
Gallarate  and  Varese 186 

29.  From  Milan  to  Laveno,  on  the  Lago  Maggiore,  via  ,Sa- 
ronno  and  Varese 187 

30.  From  Bellinzona  to  Genoa  via  Alessandria 189 

From  Milan  to  Mortara  (Genoa)  via  Vigevano,  190. 

31.  Lago  Maggiore 190 

32.  From  Milan  to  Genoa  via  Pavia  and  Voghera    ....  202 

From  Pavia  to  Alessandria  via  Torre-Kerretti  and  Valeuza 
and  to  Cremona,  205. 

33.  From  Milan  to  Mantua  via  Cremona 206 

From  Cremona  to  Brescia  and  to  Piacenza,  209. 

34.  From  Milan  to  Bergamo 209 

35.  The  Bergamasque  Alps 213 

1.  Val  Brembana,  213.  —  2.  Val  Seriana,  215. 

36.  From  Leico  to  Brescia  via  Bergamo 216 

37.  From  Milan  to  Verona 217 

38.  Brescia 219 

39.  The  Brescian  Alps 225 

1.  I.ago  d'Iseo  and  Val  Camonica,  225.  —  2.  Val  Tiximpia, 
227.  —  3.  Val  Sabbia  and  Lago  d'Idrn,  228. 

40.  The  Lago  di  Oarda.    Riva.    Arco 229 


126  LOMBARDT. 

The  name  of  the  Germanic  trihe  that  invaded  Italy  in  568  is  now 
applied  to  the  country  between  the  Alps  and  the  Po,  which  is  separated 
from  Piedmont  by  the  Ticino ,  and  from  Venetia  by  the  Mincio.  It  is 
divided  into  the  eight  provinces  of  Como,  Milano,  Pavia,  Sondrio,  Ber- 
gamo., Cremona.,  Brescia,  and  Mantova,  covering  an  area  of  about  9000  sq.  M., 
and  containing  4,334,100  inhabitants.  The  name  was  once  applied  to  a 
much  larger  tract.  Lombardy  has  not  inaptly  been  likened  to  an 
articholce,  the  leaves  of  which  were  eaten  off  in  succession  by  the  lords 
of  Piedmont;  thus  in  1427  they  appropriated  Vercelli,  in  1531  Asti,  in  1703 
Val  Sesia,  in  1706  Alessandria,  in  1736  Tortona  and  Novara,  and  in  1743 
Domodossola.  The  heart  of  the  country ,  if  we  continue  to  use  the 
simile,  would  then  be  the  District  op  Milan,  or  the  tract  lying  between 
the  Ticino,  Po ,  and  Adda.  The  three  zones  of  cultivation  are  the  same 
as  in  Piedmont,  viz.  the  region  of  pastures  among  the  mountains,  that 
of  the  vine ,  fruit-trees ,  and  the  silk-culture  on  the  lower  undulating 
country  and  the  slopes  adjoining  the  lakes,  and  that  of  wheat,  maize, 
and  meadows  in  the  plains,  the  yield  of  these  last  being,  however,  far 
more  abundant  than  in  Piedmont.  The  climate  of  Lombardy  is  thoroughly 
continental:  winter  in  the  plains,  which  are  scourged  by  bitter  winds,  is 
very  cold  (minimum  at  Milan,  1.4°  Fahr.)  and  abounds  in  snow  and  mist 
(in  1899  at  Milan  snow  occurred  on  18  days,  mist  on  50);  while  in  summer 
the  heat  is  greater  than  that  of  S.  Italy  (maximum  at  Milan,  97°  Fahr.). 
In  the  height  of  summer  rain  is  rare  beyond  the  lower  Alps,  and  falls 
more  frequently  when  the  wind  is  from  the  E.  than  from  the  W.,  as  the 
moisture  of  the  latter  is  absorbed  by  the  Maritime  Alps  and  the  Apennines; 
but  a  thorough  system  of  irrigation,  without  a  parallel  in  any  other  part 
of  Europe,  prevails  here,  so  that  a  failure  of  the  crops  is  hardly  possible.  In 
the  middle  ages  the  importance  of  Milan  was  due  to  its  woollen  industries, 
but  sheep-breeding  has  in  modern  times  been  largely  superseded  by  the 
silk-culture,  an  industry  which  has  so  materially  increased  the  wealth  of 
the  country,  that  it  used  to  be  said  during  the  Austrian  regime  that  the 
army  and  the  officers  lived  on  mulberry  leaves,  as  their  produce  alone 
sufficed  to  pay  the  land  taxes.  Under  these  circumstances  the  population 
is  unusually  dense ,  being  about  380  persons  to  the  sq.  mile,  or  only  a 
little  less  dense  than  in  Liguria  and  Campania. 

The  central  situation,  and  the  wealth  of  the  country,  have  ever  ren- 
dered it  an  apple  of  discord  to  the  different  European  nations.  In  the 
earliest  period  known  to  us  it  was  occupied  by  the  Eiruscaris,  an  Italian 
race,  which  about  400  B.C  was  subjugated  or  expelled  by  Cells  from  the 
W.  These  immigrants  founded  Mediolanum  (Milan),  near  the  site  of  the 
Etruscan  Melpum,  destroyed  in  396  B.C.  Traces  of  their  language  still 
survive  in  the  modern  dialect  of  the  country,  as  it  does  in  the  dialects 
of  Piedmont  and  Emilia.  It  was  but  slowly  that  the  Italians  subdued  or 
assimilated  these  foreigners,  and  it  was  not  till  B.C.  222  that  the  Romans 
extended  their  supremacy  to  the  banks  of  the  Po  by  their  victory  at 
Clastidium  (p.  357).  In  the  following  century  Oallia  Cisalpina  was  con- 
stituted a  province,  on  which  Csesar  conferred  the  rights  of  citizenship 
in  B.C.  46.  Throughout  the  whole  of  the  imperial  epoch  these  regions 
of  Northern  Italy  formed  the  chief  buttress  of  the  power  of  Rome.  From 
the  4th  cent,  on  Milan  surpassed  Rome  in  extent,  and,  in  many  respects, 
in  importance  also.  It  became  an  imperial  residence,  and  the  church 
founded  here  by  St.  Ambrosius  (who  was  bishop  of  Milan  in  374-97),  long 
maintained  its  independence  of  the  popes. 

The  Lombards  made  Pavia  their  capital,  but  their  domination,  after 
lasting  for  two  centuries,  was  overthrown  by  Charlemagne  in  774  (p.  3). 
The  Lombard  dialect  also  contains  a  good  many  words  derived  from  the 
German  (thus,  bron,  gast,  grii,  pib,  smessor,  storA.,  and  stosit,  from  the 
German  Brunnen,  Gast,  Greis,  Pflug,  Messer,  storen,  and  stossen).  The 
crown  of  Lombardy  was  worn  successively  by  the  Franconian  and  by  the 
German  Kings,  the  latter  of  whom,  particularly  the  Othos,  did  much  to 
promote  the  prosperity  of  the  towns.  When  the  rupture  between  the 
emperor  and  the  pope  converted  the  whole  of  Italy  into  a  Guelph  and 
Ghibelline  camp,  Milan,  the  leader  of  the  federated  Lombard  cities  since 


LOMBARDY.  127 

1167,  formed  the  headquarters  of  the  former,  and  Cremona  those  of  the 
latter  party,  and  the  power  of  the  Hohenstaufen  proved  to  be  no  match 
for  the  Lombard  walls.  The  internal  dissensions  between  the  nobles  and 
the  burghers,  which  prevailed  in  every  town,  led  to  the  creation  of  several 
new  principalities.  In  1277  Archbishop  Ottone  degli  Visconli  of  Milan  (whose 
family  was  so  called  from  their  former  office  of  'vicecomites',  or  archiepisc- 
opal  judges)  was  nominated  'Capitano  del  Popolo',  and  in  1294  Maiteo 
Visconli,  his  nephew,  was  appointed  governor  of  Lombardy  by  the  German 
king.  Although  banished  for  a  time  by  the  Guelph  family  Delia  Torre, 
both  Matteo  and  his  sons  and  their  posterity  contrived  to  assert  their 
right  to  the  Signoria.  The  greatest  of  this  family  were  Lucchino  Visconli 
(1339-49),  Petrarch's  patron,  and  Giovanni  Oaleazzo,  who  succeeded  his 
father  OaUazzo  II.  (p.  147;  d.  1378)  as  ruler  of  the  W.  portion  of  the 
district  of  Milan.  In  1335  Giovanni  wrested  the  reins  of  government  in 
the  K.  portion  also  from  his  uncle  Bernabd,  and  afterwards  extended  his 
duchy  to  Pisa  and  Bologna,  and  even  as  far  as  Perugia  and  Spoleto.  His 
chief  concern  was  to  raise  taxes  for  the  purpose  of  carrying  on  war,  but 
at  the  same  time  the  country  nourished  under  his  just  and  systematic 
government.  The  municipal  councillors  were  entrusted  with  administrative 
and  executive  powers  in  matters  of  police,  while  artists  and  men  of 
letters  were  invited  to  the  court  by  the  prince,  who  founded  the  Cathedral 
at  Milan  and  the  Certosa  at  Pavia.  But  after  his  death  in  1402  chaos  came 
again.  He  was  succeeded  by  his  three  sous,  Giovanni  Maria,  assassinated 
in  1412  by  the  sons  of  Bernabo,  Filippo  Maria,  and  Gabriele  Maria  (d.  1408). 
Under  Filippo  wars  were  carried  on  with  Florence,  Venice,  and  Naples. 
On  the  extinction  nf  the  Visconti  family  with  the  death  of  Filippo  Maria 
in  1447,  Milan  declared  itself  a  republic  under  the  name  Repuhblica  di  SanC 
Amhrogio.  In  1450,  however,  Francesco  Sforza  the  condoltiere,  who  had 
been  elected  general-in-chief  by  the  'capitani'  of  the  republic,  made  himself 
duke,  and  restored  order  and  security  to  the  distracted  state.  He  rebuilt 
the  Castello,  constructed  the  Martesana  Canal  and  the  Ospedale  Maggiore, 
and  surrounded  himself  with  Byzantine  and  Italian  scholars,  who  applauded 
the  Latin  orations  of  his  daughter  Hippolyta.  Francesco  died  in  1466,  and  his 
art-loving  but  dissolute  son,  Galeazzo  Maria,  was  assassinated  ten  years  later 
in  the  church  of  Santo  Stefano,  leaving  his  son  Giovanni  Qaleazzo  still  a  minor. 
Ludovico  il  Mora  seized  the  regency  in  name  of  his  nephew,  and  on  the  death 
of  the  latter  in  1494,  he  induced  Charles  VIII.  of  France  to  undertake  a 
campaign  against  Naples,  thus  inaugurating  a  new  period  in  the  history 
of  Italy.  Since  that  time  Italy  has  at  once  been  the  battlefield  and  the 
prey  of  the  great  powers  of  Europe.  Lodovico  himself,  after  having 
revolted  against  France  and  been  defeated  at  Novara  in  1500,  terminated 
his  career  in  a  French  dungeon.  His  ?on  Massimiliano,  after  a  brief  reign 
(15r2-15)  surrendered  Milan  to  Francis  I.,  the  victor  at  Marignano  (p.  357). 
The  victory  of  Charles  V.  at  Bicocca  in  1522  placed  Francesco  II.  Maria, 
brother  of  Massimiliano,  on  the  throne;  and  in  1525  the  battle  of  Pavia  con- 
stituted Charles  V.  arbiter  of  the  fortunes  of  Italy.  In  1540,  five  years  after 
the  death  of  the  last  Sforza,  he  invested  his  son,  Philip  II.  of  Spain, with 
the  duchy  of  Milan.  In  1714  the  Spanish  supremacy  was  followed  by  the 
Austrian  in  consequence  of  the  War  of  Succession.  On  four  occasions 
(1733,  1745,  1796,  and  1800)  the  French  took  possession  of  Milan,  and  the 
Napoleonic  period  at  length  swept  away  the  last  relics  of  its  mediaeval 
institutions.  Although  Napoleon  annexed  the  whole  of  Piedmont,  Genoa, 
Parma,  Tuscany,  and  Rome  (about  36,000  sq.  M.  of  Italian  territory)  to 
France,  the  erection  of  the  Cisalpine  Republic  (1797)  and  then  of  a  Kingdom 
of  Italy  (1805)  contributed  materially  to  arouse  a  national  spirit  of  pat- 
riotism. This  kingdom  embraced  Lombardy,  Venice,  S.  Tyrol,  Istria, 
the  greater  part  of  the  Emilia,  and  the  Marches.  Milan  was  the  capital, 
and  Napoleon  was  king ,  but  was  represented  by  his  stepson  Engine 
Beauharnais.  The  Austrian  Supremacy,  which  was  restored  in  1815,  proved 
irreconcilable  with  the  national  aspirations  of  the  people.  By  the  Peace 
of  Zurich  (10th  Nov.,  1859)  Lombardy,  with  the  exception  of  the  district 
of  Mantua,  was  ceded  to  Napoleon  III,,  and  by  him  to  Sardinia. 


128 


22.  Milan,  Ital.  Milano. 


Railway  Stations.  1.  The  Central  Station  (PI.  F,  G,  1;  'Restaurant,  with 
prices  displayed),  built  in  1864,  is  used  by  all  the  lines  of  the  Rete  Adriatica 
and  the  Kete  Mediterranea.  Omnibuses  from  most  of  the  hotels  are  in 
waiting  (fare  'A'lVz  fr-)-  Cab  from  the  station  1  fr.,  day  or  night;  each 
large  article  of  luggage  25  c,  small  articles  taken  inside  the  cab  free. 
Electric  tramways  (Nos.  t,  2,  &  7)  into  the  town  10  c.  (hand-baggage  only 
allowe<l).  —  2.  The  Stazione  Ferrovie  Nord  (PI.  C,  4),  for  the  lines  of  the 
N.  Railway  to  Saronno  and  Como  (R.  23),  to  Erba  (R.  25),  and  to  Varese 
and  Laveno  (K.  29),  is  connected  with  the  Piazza  del  Duomo,  the  Stazione 
di  Porta  Genova,  and  the  Central  Station  by  the  electric  tramways  Nos  3 
(fe  7  (p.  130).  —  3.  The  Stazione  di  Porta  Genova  or  di  Porta  Ticinese 
(PI.  B,  8),  a  secondary  station  for  the  trains  to  Mortara  and  Genoa  (p.  190), 
is  of  little  significance  to  strangers.  —  Porterage  to  the  town  for  luggage 
under  110  lbs.  50  c,  according  to  tariff  (from  any  ."station).  —  Railway- 
tickets  for  the  Eete  Adriatica  and  the  Kete  Mediterranea  may  also  be 
procured  at  the  Agenzia  Inter nazionaU  di  Yiaggi  (Fratelli  Gondrand), 
(Jalleria  Vittorio  Emanuele  24,  or  from  Thos.  Cook  d  Son,  Via  Alessandro 
Slanzoni  7;  for  the  N.  Railways  at  the,  Agenzia  Ferrome  Nord,  Galleria 
Vittorio  Emanuele  26.  —  Agency  of  the  Sleeping  Car  Co.,  at  the  Gr.  Hotel 
Jlilan  and  at  the  station-inspector's  office. 

Hotels  (mostly  in  a  noisy  situation;  all  those  of  the  first  class  have 
lifts  and  steam-heating).  In  the  Town :  "Hotel  dr  la  Ville  (PI.  a;  F,  5), 
Corso  Vittorio  Emanuele  34,  with  post  and  railway-ticket  offices,  R.  5-10, 
B.  i'/s,  dej.  4,  D.  6,  pens,  from  12,  omn.  I'/i  fr. ;  "Grand  Hotel  de  Milan 
(PI.  c;  F,  3,  4),  Via  Alessandro  Manzoni  29,  with  ticket  and  luggage  office, 
R.  5-9,  steam-heating  IV2,  B.  I'/z,  dej.  4,  D.  6-7,  pens,  from  121/2,  omn. 
1  fr. ;  *6r.  Hot.  Continental  (PI.  e;  E,  4),  Via  Alessandro  Manzoni,  with 
railway-ticket  office,  R.  4-8,  B.  I'/z,  dej.  4,  D.  5-6,  pens,  from  10,  omn. 
11/4  fr. ;  'Hot.  CAVonR  (PI.  b;  F,  3j,  Piazza  Cavour,  pleasantly  situated 
opposite  the  Giardini  Pubblici,  R.  from  4,  B.  IV2-2,  dej.  4,  D.  6-7,  omn. 
11/4  fr.,  frequented  by  Italians.  The  following  are  also  first-class  but 
somewhat  less  expensive  :  "Elwert's  Hot.  Grande  Bretagnk  et  Reichmann 
(PI.  d;  D,  E,  6),  Via  Torino  45,  R.  31/2-51/2,  B.  11/2,  dej.  31/2,  D-  41/2,  pens, 
from  9,  omn.  1  fr. ;  Hotel  MtTROPOLE  (PI.  q ;  E,  5),  Piazza  del  Duomo, 
German,  R.  81/2-71/2,  B.  I1/2,  dej.  31/2,  D.  5-6,  pens.  9-12,  omn.  1  fr., 
variously  Judged.  —  Regina  Hotel  kt  Rebecchino  (PI.  p;  E,  5),  Vi-a 
Santa  Ulargherita  16,  with  lift,  fteam-heating,  and  restaurant,  R.  4-8, 
B.  11/2,  dej.  31/2,  D.  5,  pens,  from  10,  omn.  I1/4  fr.,  many  English  visitors; 
"Europe  (PI.  f :  F,  5),  Corso  Vitt.  Emanuele  9,  with  lift  and  steam-heaUng, 
charges  raised  if  meals  are  not  taken  in  the  hotel,  R.  4-6,  B.  I1/2,  d^j.  3, 
D.  41/2-6,  pens.  9-14,  omn.  1  fr. ;  Manin  (PI.  k;  F,  '2),  Via  Manin,  near  the 
Giardini  Pubblici,  in  a  pleasant  situation,  R.  from  4,  B.  11/2,  dej.  3-31/2, 
D.  41/2-6,  pens,  from  I21/2,  omn.  1  fr.,  patronized  by  English  travellers; 
"Bella  Venezia  (PI.  i;  E,  F,  5),  Piazza  San  Fedele,  R.  31/2-5,  B.  I1/2, 
dej.  3,  D.  4,  pens,  from  10,  omn.  1  fr. ;  'Victoria  (PI.  o;  G,  4,  5),  Corso 
Vittorio  Emanuele  40,  with  lift  and  steam-heating,  R.  21/2-6,  B.  I1/2,  d^j.  3, 
D.  4,  pens,  from  8,  omn.  ^/t  fr. ;  Roma  (PI.  g;  F,  5),  Corso  Vitt.  Emanuele  7, 
\vith  lift,  R.  from  4,  B.  IV2,  dt?;.  31/2,  D.  5,  pens,  from  11,  omn.  1  fr. ;  Grand 
Hot.  Royal,  Piazza  Cordusio  (PI.  D,  4,  5),  with  lift  and  steam-heat- 
ing. —  The  following  are  good  Italian  houses  of  the  second  class  :  Pozzo 
&  Central  (PI.  1;  E,  6),  Via  Torino,  with  steam-heating,  R.  from  31/2, 
dej.  3,  D.  4,  pens.  9-11,  omn.  1  fr.;  Hot.  de  France  (PI.  m;  F,  5),  Corso 
Vitt.  Eman.  19,  with  lift  and  steam-heating,  R.  3-31/2,  dej.  3,  D.  41/2,  pens. 
9-11  fr.,  incl.  wine,  omn.  ^t-i  fr. ;  Agnello  et  dd  Dome  (PI.  h;  F,  5),  Via 
Agnello  2,  with  lift  and  steam-heating,  R.  2-4,  dej.  3,  D.  4,  pens.  8-10  fr. ; 
AncSra  e  Ginevra  (PI.  n;  F,  5),  Via  Agnello  1  and  Corso  Vitt.  Emanuele, 
with  lift,  R.  21/2-31/2,  ddj.  21/2,  D.  31/2,  omn.  V*  ff- ;  Angioli  et  Sempionb, 
Via  San  Protasio,  R.  21/2,  dej.  3,  D.  4,  omn.  V*  fr- i  Bi.scionk  k  Bellevce 
(PI.  t:  F,  5),  Piazza  Fontana,  R.  21/2-31/2,  dej.  21/2-8,  D.  31/2-4,  pens.  8-9, 
omn.  '/ifi"- -~  Pli'i":  ALn.  del  Commercio,  Piazza  Fontana,  with  restaurant, 


d^B  Jiuia  3  ■  zin-S  ^-^ 


pPtdidi  sa<^.j(ITg  jjn$t:^A  ^^^g^ly^^jI^U3'J 


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Bakuekbb.     Italy  I.    13th  Edit. 


Practical  Notes.  MILAN.  2-2.  Route.   129 

11.  'i'/2-3'/7,  omn.  1  fr.,  much  frequented;  Hot.  Si-luga  e  PotOLO  (PI.  r; 
K,  5),  Via  San  Protasio,  cor.  of  Via  Santa  Margherita,  with  lift  and  trattoria, 
R.  2'/2  fr. ;  Alb.  Passabella,  Via  della  Passarella  24  (,P1.  F,  G,  5),  R.  from 
2  fr.  i  Hot.  St.  Michel  et  Beknekhoi",  Via  Pattari  (PI.  F,  5),  R.  2'/-ii  omn. 
'^/i  fr. ;  AuNBLLiNO,  Via  Agnello  4  (PI.  F,  5),  R.  2  fr. ;  Hot. -Pens.  Suisse, 
in  the  narrow  ViaVisconti,  R.  2-3  fr.;  Alb.  del  Falcone, Via  del  Falcone, 
with  good  trattoria. 

Near  the  Central  Station,  for  passing  travellers  :  *Palace  Hotel  (PI.  y ; 
G,  1),  flrst-class,  with  restaurant  and  booking  office,  R.  from  5,  B.  li/a, 
dej.  4V2,  D-  (J-8,  omn.  (luggage  extra)  '/'^  'i"- ;  Hot.  du  Nokd  (PI.  u;  F,  1), 
with  lift  and  the  dc-pendance  H6t.  des  Anglais,  R.  3-5,  B.  I1/4,  d^j.  3,  D. 
4  fr.;  Bellini's  Hot.  Terminus  (PI.  v;  G,  1),  with  lift,  R.  3-6,  B.  IV2,  dej.  3, 
D.  4,  omn.  V^  fr.,  generally  well  spoken  of;  Hot.  d'Italie  (PI.  z;  F,  1), 
R.  from  3,  B.  iV4,  dej.  3,  D.  4fr.;  Concokdia  (PI.  w;  F,  1),  R.  3,  B. 
lV4fr. ;  Hot.  Como,  next  the  Hot.  Terminus,  R.  2V2-3>/i,  B.  IJ/i  fr. ;  these 
si.x  in  the  square  in  front  of  the  station.  —  Hot.  du  Pakc  (PI.  x;  F,  2), 
Via  Principe  Umberto  29,  with  lift,  R.  2V2-4V2,  B.  fi/i,  dej.  2V2,  D.  3V'2  fr., 
variously  judged;  Hot.  Sohmid,  Via  Galilei  (PL  F,  1),  R.  from  21/2,  B.  11/4, 

D.  3  fr.,  well  spoken  of;  Alb.  Nizza,  Via  Principe  Umberto  6,  R.  2-3V2, 
B.  1,  D.  2,  S.  11/2  fr. ;  Alb.-Ristok.  Cervo,  Via  Prin.  Umb.  14-16,  R.  2  fr., 
B.  90  c.,  dej.  or  D.  2'/2  fr.,  incl.  wine  (the  last  three  quite  unpretending). 

Hotels  Gamis.  Cokso  Hotel,  Corso  Vitt.  Eman.  15,  with  restaurant 
and  tea-room,  R.  from  4,  omn.  1  fr. ;  Gk.  Hot.  Marino,  Via  Filodrammatici, 
cor.  of  Piazza  della  Scala,  R.  41/2-6,  omn.  1  fr. ;  Gr.  Hot.  Modeene,  Piazza 
del  Duomo  (Via  Carlo  Alberto  16),  R.  3-4,  omn.  1  fr.,  all  three  with  lift 
and  steam-heating. 

Pensions  (comp.  p.  xx).  Pension  Anglaise  (Mrs.  Ernst) ,  Corso  Vitt. 
Emannele  26,  6-8  fr. ;  Miss  Betham,  Via  Brera  5,  6  fr. ;  Finzi,  Via  Manzoni  16 ; 
Bonini,  Piazza  del  Duomo  (Via  Carlo  Alberto  8),  6-12  fr. ;  Papa,  Via  Gabrio 
Casati  1,  6-7  fr. ;  Pens.  InternazionaU,  Via  Brera  16,  from  7  fr. ;  Venanzi,  Corso 
Vittor.  Eman.  36,  6-7  fr. ;  Bassi,  Piazza  del  Duomo  19;  S/orzini,  Via  Oriani  1, 
6-8  fr. ;   ]V!/ss,  Cor.so  Buenos  Ayres  1,  4th  floor,  4V2-7  fr. 

Restaurants  (^Ristoranti,    Traltorie;    comp.   p.  xxi).     'Caffi  Cova,  Via 
Giuseppe  Verdi,  near  the  Scala,   with  a   ganien  (evening-concerts  in  sum 
mer);    Bi/ri,   'Savini,    "Gambrinus- Halle,   all   three   in    the   Galleria  Vitt 
Emannele;  'Eden  (p.  l')ti)>  Via  Cairoli;  Corso,  Corso  Vitt.  Emanuele   ('ee 
above);  Birreria  Pilsen,  Via  S.  Protasio  5;  "Fiasc/ietteria  Toscnna,  near  the 

E.  branch  of  the  Galleria  Vitt.  Emanuele,  good  Tuscan  wine;  Orologio, 
Piazza  del  Caraposanto,  on  the  E.  side  of  the  Cathedral;  Unions  Cooperativa, 
Via  Meravi^li,  Ristoranle  Belcedei'C,  near  the  N.  .stition,  these  three  inexpen- 
sive.    Most  of  the  above-mentioned  Italian  hotels  are  also  restaurants. 

Cafes  (comp.  p.  xxiii).  Biffi,  expensive  (concerts  in  the  evening), 
Campari,  both  in  the  G  tlleria  Vitt.  Emanuele ;  Cova  (see  above) ;  Ci'espi, 
Via  Tommaso  Grossi,  corner  of  the  Via  Santa  Margherita  (concerts  in  the 
evening) ;  Eden,  Via  Cairoli  Ip.  130);  Morefco,  Via  Solferino,  near  the  Brera  ; 
the  cafes  in  the  Giardini  Pubblici  (p.  161)  and  the  Nuovo  Parco  (p.  161). 

Confectioners  (Pasticceria).  Cnfi  Cova,  see  above;  Biffi,  Via  Alessandro 
Manzoni;  ' Marchesi,  Yi^,  del  Monie  Napoleone  (PI.  F,  4).  —  Panettone  is  a 
favourite  kind  of  cake,  chiefly  used  during  the  continuance  of  the  Carnival. 

Birrerie  (see  p.  xxiii).  ' Gamhrinus-Balle,  see  above  (Munich  beer,  con- 
'cert  in  the  evening) ;  Spiitentn-du,  Via  Ugo  Foscolo  2,  adjoining  the  Gall.  Vitt. 
Eman.,  frequented  by  Germans;  Birrei-iu  Nazionale  Casanova,  on  the  W. 
side  of  the  Piazza  del  Duomo ;  Orologio,  see  above;  Ristoranle  della  Borsa, 
Piazza  Conlusio,  these  three  with  Munich  and  Pilsenor  beer;  Sternhalle, 
Via  Santa  Margherita,  at  the  corner  of  Via  del  Gallo. 

Baths.  "Terate,  Foro  Bonaparte  08,  with  swimming,  Turkish,  and 
medicinal  baths;  Tre  Re,  Via  Tre  Alberghi  24  (PI.  E,  6);  Bayni  Dufour, 
Via,  SdaWWore;  Bugni  deWAnnunziata,  Via  Annunziata  11;  Bagni  Centrali, 
Corso  Vittorio  Emanuele  17,  with  medicinal  baths,  clean  and  not  ex- 
pensive. —  Swimming  Baths:  "Bagiio  di  Diana  (PI.  H,  2),  outside  the 
Porta  Venezia  (1  fr.),  closed  in  winter. 

Cabs  CCiltadine"  or  '■Broughams';  a  tariff  in  each  vehicle).  Per  drive 
by  day  or  night  1  fr. ;  per  hour  I'/a  fr.,  each  V2  hr.  addit.  1  fr. ;  each  large 

Bakdbkkb.    Italy  I.    13th  Edit.  t) 


130  Route  22.  MILAN.  Practical 

article  of  luggage  25  c.  —  Motoe-Cakriagks  may  be  hrxl  from  the  Societh 
Oenerale  Esevcizi  con  Aulomobili,  Via  Brera  16. 

Electric  Tramways.  1.  Piazza  del  Duomo  (PI.  E,  5)-Via  Al.  Manzoni- 
Via  Principe  Vxabtvio- Central  Station  (PI.  F,  G,  1).  —  2.  Piazza  del  Duomo- 
Porta  Venezia  (PI.  H,  2)-Central  Station.  —  3.  Piazza  del  Duomo-\ia,  Dante- 
Stazione  Ferrovie  Nord  (PI.  C,  4)-Via  Vincenzo  Monti -Porta  Sempione 
(PI.  B,  2)-Corso  Sempione  (PI.  A,  B,  1,  2)  —  4.  Piazza  del  TMomo-Yia,  Dante- 
Porta  Tenaglia  (PI.  C,  2)- Via  Bram ante- Cimito-o  Monvmentale  (comp.  PI.  C,  1). 
—  5.  Piazza  del  Daomo-Piazza  della  Scala-Via  di  Brera  (PI.  E,  4,  3)-Porta 
Volta  (PI.  C,  i.yCimitero.  —  6.  Piazza  del  /)«omo- Piazza  Sant'  Ambrogio 
(PI.  C,  5,  6)-Fta  Filangeri  (PI.  A,  6).  —  7.  Tramvia  Inter stazionale:  Central 
Station-V oris.  Nnova  (PI.  E,  F,  1)-Via  Pontaccio  (PI.  D,  E,  3)-Stazione  Ferrovie 
Nord  (PI.  C,  kystaz.  di  Porta  Genova  or  Ticinese  (PI.  B,  8).  —  8.  Tramvia 
di  Circonvallazione  round  the  whole  of  the  old  town.  —  Lines  also  run 
from  the  Piazza  del  Duomo  to  most  of  the  other  City  Gates.  Fare  from  6.30 
to  8  30  a.m.  (in  winter  7-9)  5  c.,  later  10  c.  (on  line  No.  8  always  10  c). 
There  are  no  fixed  stations;  passengers  hail  the  driver  when  they  wish 
to  enter  and  ring  when  they  wish  to  alight.  The  cars  on  the  chief  lines 
are  often  overcrowded,  and  passengers  should  be  on  their  guard  against 
pickpockets.     Cars  running  to  the  Central  Station  carry  letter-boxes. 

Electric  Railway  to  Monza  (p.  165;  9'/2  M.  in  1  hr.,  fares  70  or  45  c., 
return  1  fr.  10,  or  70  c. ;  every  Vz  hr.  from  the  Piazza  del  Campo  Santo, 
p.  136,  to  the  E.  of  the  cathedral)  via  the  Corso  Buenos  Ayres  (PI.  H,  2,  1) 
and  the  Viale  Monza  with  its  plane-trees;  the  chief  .stations  arc  Precoiio, 
with  a  large  brass-foundry,  and  Sesto  (p.  165),  beyond  which  the  view  of 
the  Alps  is  unimpeded.  The  chief  stoiipiug-places  in  Monza  are  at  the 
station,  the  Piazza  Roma,  and  the  royal  chateau. 

Steam-Tramways  connect  Milan  with  a  large  part  of  Lombardy  (comp. 
the  Map,  p.  164).  The  only  line  of  much  interest  for  the  stranger  is  that 
to  the  Tor're  del  Mangano  and  Pavia  (Certosa;  see  p.  102). 

Post  &  Telegraph  Office  (PL  D,  5),  Via  Bocchetto  2,  open  from  8  a.m. 
to  9  p.m.;  branch-otfices  at  the  Central  Station,  etc. 

Theatres  (comp.  p.  xxiv)  The  "Teatro  alia  Scala  (PI.  E,  4),  the  largest 
in  Italy  after  the  San  Carlo  Theatre  at  Naples,  was  built  by  Oius.  Pier- 
marini  in  1778 ,  and  holds  3600  spectators.  The  performances  (operas, 
ballets,  spectacular  pieces)  take  place  during  winter  only.  The  interior  is 
worthy  of  inspection  (open  9-4;  V2  fr.).  —  Teatro  Lirico  Jnternazionale 
(PI.  F,  6),  built  by  Sfondrini  in  1894,  at  the  corner  of  the  Via  Larga  and 
the  Via  Eastrelli ;  Teatro  Manzoni  (PI.  E,  5),  Piazza  San  Fedele,  elegantly 
fitted  up,  good  performances  of  comedy;  Teatro  Dal  Verme  (PI.  1),  4),  Foro 
Bonaparte  (operas  and  ballets,  sometimes  used  as  a  circus) ;  Teatro  Filo- 
drammatici  (PI.  E,  4),  Via  San  Dalmazio,  operas;  Teatro  Fossriii  (Pl.D, 3), 
Foro  Bonaparte,  comedies,  operettas,  etc.  —  Eden  Theatre  of  Varieties, 
Via  Cairoli  (PI.  D,  4);  adm.  1  fr. 

Bands  play  in  summer  in  the  Piazza  della  Scala  (p.  137;  Thurs., 
8-10  p.m.),  the  Giardini  Pubblici  (p.  161;  Sun.,  3-6  and  8-11  p.m.),  and  the 
Nuovo  Parco  (p.  151;  Sun.,  8-11  p.m.). 

Bankers.  Banca  Commerciale  Italiana ,  Piazza  della  Scala  3;  Credito 
Italiano,  Piazza  Cordusio ;  Mylius  ik  Co.,  Via  Clerici  4  (PI.  E,  4);  Societd. 
Bancaria  Milanese,  Piazza  Belgioioso.  —  Money  Changers:  Ponti,  on  the 
N.  side  of  the  Piazza  del  Duomo;  Rasini  <i-  Co.,  Piazza  Mercanti  (PI.  E,  5); 
Terzaghi  cfc  Cagnoni,  Via  Al.  Manzoni  3. 

Booksellers.  Hoepli,  Galleria  de  Cristoforis  (p.  159),  Corso  Vitt. 
Emanuele37;  Sacchi  tk  Figli,  Corso  Venezia  13;  Libreria  Treves,  Gall.  Vitt. 
Emanuele;  Fratelli  Bocca,  Corso  Vitt.  Emanuele  21 ;  Remo  Sandron,  Via  Al. 
Manzoni  7;  Ant.  Vallardi,  Piazza  alia  Scala  10;  Baldiiti,  Castoldi  Jk  Co.,  Gal- 
leria Vitt.  Emanuele;  Sperling,  Via  Carlo  Alberto  27.  —  Newspapers.  Jl 
Corriere  della  Sera  {p.  xxiii;  5  c.);  La  Perseveranza ;  La  Sera;  II  Secolo,  etc. 

Shops.  The  best  are  in  the  Corso  and  the  Galleria  Vittorio  Emanuele. 
The  Alle  Citta  d^ Italia  (lYatelH  Bocconi),  Piazza  del  Duomo,  is  an  establish- 
ment in  the  style  of  the  large  Magasins  at  Paris  (fixed  prices) ;  the  similar 
Unione  Cooperativa,  Via  Meravigli  9  (PI.  D,  5)  is  less  expensive.  —  The  Silk 


Notes.  MILAN.  22.  Route.   131 

Industry  of  Milan  is  very  important  (comp.  p.  132).  The  following  are  noted 
retail-dealers:  Haimann  (Citth  di  ComoJ,  Via  Morone  3;  Saielta,  Oiovannoli, 
<t  Co.,  Corso  Vitt.  Kman.  31  (fixed  prices);  Betozzi,  ifonghisoni,  <£•  Co., 
Corso  Vitt.  Eraanuele  2S.  —  Inlaid  Furniture:  Pogliani,  Via  del  Monte 
Napoleone  18. —  Photographs:  Boncmi,  Gall.  Vitt.  Emanuele  84;  Lamperti 
4c  Oarbaffnali,  Via  degli  Omenoni  4  ;  Compagnia  Rotografica,\\s.  Guastalla  9 
(also  photographic  materials).  —  Art  Dealers  :  Grandi,  Corso  Venezia  12 
(engravings);  f/n(6ic.",  Piazza  Castello  2  (modern  art;  Segantini  exhibition). 

Cigars.  Genuine  havanas  may  be  obtained  at  Galleria  Vitt.  Emanuele  90. 

Physicians.  Dr.  Hubert  Higgins,  Piazza  StazioDe  Centrale  3  (1-4); 
Dr.  Jul.  Verdi,  Via  Brera  3;  Dr.  Cozzi,  Via  Monforte  6;  Dr.  Morotti,  Via 
Spiga  22 ;  Dr.  Fornoni,  Via  Spiga  4  ;  Dr.  A.  Tilger,  Via  del  Monte  Napoleone  16. 
—  Dentist:  Dr.  Pape,  Via  Gesu  12;  Dr.  Flatow.  Via  delta  Passarella  36.  — 
Pkivate  Hospitals :  ^.<!i7o  Eiangelico,  Via  Monte  Eosa  12,  outside  the  Porta 
Magenta,  the  hospital  of  the  foreign  colony  in  Milan ;  Casa  di  Salute  Privata 
Pcirapini,  Via  Alfonso  Lamarmora  (PI.  G,  H,  7).  —  Chemists:  Cooperativa 
Farmaceutica,  Piazza  dol  Duomo  (Via  Carlo  Alberto);  Falcamonica  ed  In- 
Irozzi,  Corso  Vitt.  Emanuele  4;  ZambelleW,  Piazza  San  Carlo,  Corso  Vitt. 
Emanuele;  Erba,  Piazza  del  Duomo;  Talini,  Via  Al.  Manzoni. 

Goods  Agents.  Fratdli  Gondrand,  Via  Tre  Alberghi  3  (PI.  E,  6); 
Seb.  Boser,  Via  Carlo  Alberto  24. 

American  Consul,  James  E.  Dunning,  Via  Bettino  Eicasoli  2;  vice-con- 
sul, Henry  P.  Smith.  —  British  Consul,  Joseph  H.  Towsey;  vice-consul, 
Wm.  M.   Tweedie. 

English  Church:  All  Saints''  (PI.  D,  2),  Via  Solferino  17,  adjoining  the 
Kriti.sh  Consulate,  San.  at  8.30,  11,  and  3.30  (Rev.  H.  B.  Foster,  H(5tel  de  la 
Ville).  —   Waldentian  Church,  Piazza  San  Giovanni  in  Conca,  at  11  and  7. 

Collections  and  Objects  of  Interest.  For  a  list  of  the  national  holi- 
days, see  p.  xxiv.     The  museums  are  very  cold  in  winter. 

Ambrosiana.  Library  shown  daily  10-3,  Sun.  and  holidays  1-3,  i/g  fr., 
free  on  Wed. ;  open  to  students  from  Nov.  12th  to  Aug.  31st,  daily,  10-3, 
except  Wed.,  Sun.,  and  festivals.  Pinacoteca,  Sun.  and  festivals  1-3,  other 
days  10-3,   i/z  fr.;  from  Jlay  1st  to  Sept.  30th,  Wed.,   10-3,  free;  p.  152. 

Brera.  Library,  daily,  9-7  (May  to  Oct.,  9-5»,  Sun.  10-2,  closed  on  holi- 
days. Picture  Gallery,  daily,  9-4.30  (Nov.-Feb.  10-4),  1  fr.;  on  Sun.  and 
hiilidays,  12-1,  free;  p.  139.  —  Collection  of  Coins,  Mon.,  Wed.,  and  Frid., 
12-3;  closed  on  Sun.  &  holidays. 

Castello  S/orzesco  Collections  {i.e.  Museo  Archeologico  ed  Artistico,  Gal- 
leria  d'Arte  Moderna,  and  Museo  del  Hisorgimento  Nazionale;  pp.  147-150), 
Jlon.  1-4  or  1-5,  other  days  10-4  or  5;  open  free  on  Thurs.,  Sun,,  and 
holidays  9-11.30;  adm.  to  each  museum  after  11.30  on  Thurs.  50  c,  Sun. 
&  holidays  20c.,  all  other  days  1  fr.  (Museo  del  Risorgimento  alone  10  or 
20c.).  Inclusive  ticket  (biglietto  cumulativo),  valid  for  one  day;  Sun.  & 
holidays  30  c.,  Thurs.  76  c.,  other  days  I'/z  fr.  —  The  collections  are  closed 
on  the  first  Mon.  in  each  month. 

Exhibition  of  the  Societa  per  le  Belle  Arti,  daily,  9-6  (winter  10-4);  adm. 
50  c.,  on  Sun.  and  holidays  25  c. ;  p.  139. 

Last  Supper  of  Leonardo  da  Fiwci ,  daily  9.30-4.80  (Nov.-Feb.  10-4), 
1   fr. ;  Sun.  12-3,  free;  p.  154. 

Museo  Borromeo,  Tues.  &  Frid.,  1-4,  fee  (V2-I  ff-);  p.  153. 

Museo  Civico  di  Storia  Naturale,  Tues.,  Wed.,  Frid.,  &  Sat.  10-5,  Sun., 
Bfon.,  &  Thurs.  1-5  (Nov.-Feb.  till  4),  '/a  fr- ;  on  Thurs.,  Sun.  &  holidays 
9-11.30,  free;  p.  160. 

Museo  Poldi-Pezzoli,  daily,  9-4,  Sun.  &  holidays,  12-3,  1  fr. ;  p.  137. 

Palazzo  Reale,  daily,  10-4,  fee  (Ifr.);  p.  136. 

Principal  Attractions  (2  days).  1st  Day,  in  the  morning:  *Cathedral 
(Mass  11-12  on  Sun.),  jtscend  to  the  "Roof;  Galleria  Vittorio  Emanuele; 
•Brera  (picture-gallery);  in  the  afternoon:  Piazza  de'  Mercanti ;  Ca.stello 
Sforzesco ;  in  the  evening :  walk  in  the  Corso  Vitt.  Emanuele  and  Piazza 
del  Duomo,  or  in  summer  in  the  Giardini  Pubblici.  —  2nd  Day,  in  the 
morning:  Santa  Maria  delle  Grazie  and  'Leonardo  da  Vinci's  Last  Supper; 
Sant'   Ambrogio;   'San  Lorenzo;   San   Satire;   Ospedale  Maggiore;  in  the 

9* 


132   Boute  22.  MILAN.  UUtory. 

aflernoou;   Museo  Toldi  Pezzuli;  Cimitero  Monumeutale.  —  Excursion  to 
the  'Certosa  di  Pavia  (p.  1G2J;  to  Monza  (p.  165;  comp.  p.  130). 

Milan  (405  ft.),  Ital.  Milano,  sumamed  'la  grande',  the  Medio- 
lanum  of  the  Komans,  is  the  capital  of  Lombardy,  the  seat  of  an  arch- 
bishop, the  headquarters  of  the  second  army  corps,  the  chief  financial 
centre  of  Italy,  and  one  of  the  wealthiest  manufacturing  and  com- 
mercial towns  in  the  country.  Silk  (over  200  important  firms), 
woollen  and  cotton  goods,  gloves,  carriages,  machinery,  and  art- fur- 
niture are  the  staple  commodities,  while  it  also  exports  a  consid- 
erable amount  of  cheese,  butter,  eggs,  poultry,  and  other  country 
produce.  The  town  is  situated  near  the  small  but  navigable  river 
Olona  (p.  183),  which  is  connected  by  means  of  the  Naviglio  Orande 
(p.  68)  with  the  Ticino  and  Lago  Maggiore,  by  the  Naviglio  di  Pavia 
(p.  202)  with  the  Ticino  and  the  Po,  and  by  the  Naviglio  della 
Martesana  (p.  167)  with  the  Adda,  the  Lake  of  Como,  and  the  Po. 
About  8000  river-craft  enter  the  city  annually.  Milan  ranks  next 
to  Naples  in  point  of  population,  containing,  with  the  suburbs  and 
a  garrison  of  7000  men,  520,000  inhabitants.  There  are  numerous 
Swiss  and  German  residents.  —  The  drinking-water  is  indifferent. 
For  the  climate,  comp.  pp,  xxvii,  126. 

History.  The  favourable  situation  of  Milan  in  the  centre  of  Lombardy, 
near  the  beginning  of  several  of  the  great  Alpine  passes,  has  always  secured 
for  it  a  high  degree  of  prosperity.  Under  the  Romans,  who  conquered  it 
in  B.C.  222,  it  was  one  of  the  largest  cities  in  Italy,  but  owing  to  its 
repeated  destruction  hardly  a  trace  of  that  period  has  been  left  (p.  156). 
After  the  decay  of  the  Lombard  sovereignty  the  power  of  the  archbishops 
(p.  127)  increased  enormously,  especially  under  Arihert  (1018-45),  against 
whom  the  smaller  va'sals  formed  a  league  in  1035,  known  as  the  Motta. 
At  a  later  date  the  people,  grouped  round  the  Carroccio,  fought  for  the 
Archbishops  again:?t  Conrad  II.  and  the  noblesse,  expelling  the  latter 
from  the  city  in  1041.  At  this  time  Milan  is  said  to  have  contained 
3(X),000(?)  iriliab.,  and  its  trade  and  industry,  e.'pecially  the  weaving  of 
woollen  goods  and  the  making  of  arms  and  objects  in  gold,  had  become 
very  important.  The  Eoman  walls  had  long  since  become  too  cramped, 
and  in  1157  an  almost  circular  moat,  still  preserved  in  the  inner  canal 
(Naviglio) ,  was  constructed  round  the  town.  Neither  this  fortification, 
however,  nor  the  heroic  courage  of  the  Milanese  could  resist  the  Emp. 
Frederick  Barbarossa,  who,  with  the  help  of  the  Ghibelline  towns  of  Lom- 
bardy, totally  destroyed  the  city  in  1162,  with  the  exception  of  a  few 
churches.  The  emperor's  severe  rule,  however,  soon  roused  the  whole  of 
Lombardy  against  him ;  five  years  later  (1167)  Milan  was  rebuilt  by  the 
allied  cities  of  Brescia,  Bergamo,  Mantua,  and  Verona,  while  the  battle 
of  Legnano  (p.  5;  1176)  finally  shattered  Barbarossa's  hopes  of  re-estab- 
lishing the  empire  of  Charlemagne  (comp.  p.  126). 

The  Visconti  (p.  127),  wlio  became  'Signori'  of  Milan  in  1277  and 
famished  several  occupants  to  the  archiepiscopal  chair,  made  an  end  of 
the  city's  consMtutional  independence,  but  contributed  to  its  well-being  by 
the  introduction  of  the  silk-industry  (ca.  1340)  and  by  the  wide  extension 
of  their  sway.  A  new  outer  rampart  (the  Refosso  or  Rede/osso)  was  con- 
structed in  this  period  to  protect  the  suburbs.  The  S/orzas  (1450-1535) 
endeavoured  to  reconcile  the  Milanese  to  their  loss  of  liberty  by  the  bril- 
liancy of  their  court  and  their  patronage  of  art. 

The  wars  of  the  early  part  of  the  16th  cent,  and  the  heavy  taxes  of 
the  /Spanish  Period  did  not  prevent  the  growth  of  the  city,  which  in  1590 
numbered  246  000  inhabitants.  In  1527  city -walls  were  erected  on  the 
site  of  the  outer  ramparts,  and  in  1549  a  new  series  of  fortified  and  bastioned 


Art  History.  MILAN.  22.  Route.    133 

walls  were  begun.  In  1714  Milan,  with  the  rest  of  Lombardy,  passed  into 
the  hands  of  Austria.  In  1797  it  became  the  capital  of  the  ^Cisalpine  Re- 
public', and  then  (down  to  1815)  that  of  the  Kingdom  of  Italy.  The  bloody 
insurrection  of  the  Cinque  Giornate  (March  17th-22nd,  1848)  compelled  the 
Ausirians  to  evacuate  the  city  for  several  months,  and  the  patriotic  agi- 
tations which  ensued  were  happily  ended  by  the  desired  union  with  the 
new  kingdom  of  Italy  in  18o9.  No  town  in  Italy  has  undergone  such 
marked  improvement  as  Milan  since  this  date. 

Art  History.  The  only  buildings  of  the  early-Christi;\n  and  Romanesque 
periods  that  survived  the  destruction  of  1162  were  the  churches  of  San 
Lorenzo  (the  oldest  church  in  Jlilan),  Sant'  Ambrogio  (the  quaintest  church 
in  Milan),  San  Simpliciiino,  Han  Sepolcro,  San  Celso,  and  Santa  Babila. 
The  Gothic  churches  are  more  of  decorative  tlian  constructive  value-, 
some,  like  the  cathedral,  represent  a  not  very  successful  compromise  be- 
tween the  styles   of  the  N.   and   of  Italy ,   while  others   follow  Venetian 


f  italy , 
mndels  (the  Frari).  ^''^% 

'ilareteTio 


It  was  not  tiU  after  1150  that  i^i7are<«  (tower-gate  of  the  Castello,  Ospc- 
dale  Maggiore)  and  Michelozzo  (Pal.  Medici,  Cappella  Portinari  in  Sanf 
EustorgioJ  succeeded  in  introducing  the  Tuscan  early- Renaissance  style, 
and  this  only  after  protracted  struggles  with  the  Lombard  masters,  who 
clung  obstinately  to  the  pointed  arch.  Their  influence,  along  with  traces 
of  that  of  N.  art.  is  mirrored  in  the  Lombardic  school  of  sculpture,  which 
grew  up  about  1^60  and  gradually  extended  its  activity  to  Venice,  Genoa, 
and  even  S.  Italy.  Its  principal  masters,  Crisloforo  Mantegazza  (d.  1482), 
Giov.  Ant.  Ainadeo  (1447-1522),  Crisloforo  Solari  (d.  after  1525),  and  Tom. 
Rodari,  may  best  be  studied  in  the  Certosa  in  Pavia,  the  Cappella  Colleoni 
in  Bergamo,  and  the  Cathedral  of  Como.  The  decline  of  the  style  is  shown 
in  the  late  works  of  Agostino  Bnsti,  surnamed  Bambairt  (ca.  1480-1548).  A 
more  serious  and  realistic  conception  is  revealed  by  the  versatile  Cristoforo 
l''ojypa,  surnamed  Caradosso  (ca.  1445-1527),  who  is  also  famous  as  a  medal- 
engraver  and  goldsmith.  —  The  eailier  painters  of  this  period,  such  as 
I'incenzo  Foppa  (d.  ca.  1515),  who  seems  to  have  been  trained  in  Padua, 
and  his  pupil -■fmftro^io  5or^ojrreone  (d.  1533),  remained  faithful  to  the  local 
tradition. 

Milanese  art  reached  the  zenith  of  its  reputation  as  the  residence  of 
jSrciHifin^e  (1472-1500),  to  whom  are  due  the  choir  and  dome  of  Santa  Maria 
delle  Gra/.ie  and  the  baptistery  of  San  Satiro,  and  of  Leonardo  da  Vinci 
(1485-1500  and  1506-16).  The  latter  here  executed  his  masterpieces  :  the 
Last  Supper  and  the  clay  model  of  the  equestrian  monument  of  Francesco 
Si'orza,  destroyed  by  the  French  in  149S).  Among  the  pupils  of  Leonardo 
were  the  painters  Giovanni  Antonio  Boltraffio ,  Marco  d'Oggiono ,  Andrea 
ISalaino,  Cesare  da  Sesto,  and  Gianpiehino;  and  his  inlluence  is  also  mani- 
fest in  the  works  of  Bernardino  Luini,  Andrea  Solario,  Gaudenzio  Ferrari, 
and  GioiK  Ant.  Bazzi  (il  SOdoma). 

We  recognize  Bramante's  style  in  many  buildings  of  Lombardy,  such 
as  Santa  JIaria  in  Busto  Arsizio,  the  church  of  Abbiategrasso,  Santa  Maria 
della  Croce  at  Crema,  the  Cathedral  and  Santa  Maria  de  Canepanova  at 
Pavia,  the  Incoronata  at  Lodi.  Milan  itself  owes  its  present  architectural 
physiognomy  rather  to  the  masters  of  the  late- Renaissance :  —  Galeazzo 
Alessi  (p.  80;  Pal.  Marino),  Vine.  Seregni  (1509-94;  Pal.  dei  Giureconsulti, 
Pal.  di  Giustizia),  and  I'ellegrino  Tibaldi  of  Bologna  (1532-06;  court  ol  the 
Archiepiscopal  Palace).  The  churches  by  these  architects  (San  Paolo,  San 
Vittore,  San  Fedelc,  lower  part  of  the  cathedral  facade)  show  the  tran- 
sition to  the  baro(iue  style.  The  most  important  architect  of  the  17th  cent, 
was  Franc.  Maria  Richino  (Brera,  parts  of  the  Ospedale  Maggiore). 

The  three  earlier  ProcacHni,  the  chief  painters  after  1550,  betray  the 
mannerism  of  the  Carraeci,  while  Er cole  Procaccini  the  KcuHif^cr  (1596-1676), 
Giov.  Bait.  Crespi,  surnamed  Jl  Cerano  (1557-1633),  Daniele  Crespi  (1590-l(i3O). 
and  Carlo  Franc.  Nuvoloni  (1608-61)  are  vigorous  disciples  of  the  same 
eclectic   masters  (p.  365).  —  The  sculpture  of  this  period  is  insignificant. 

Since  the  Napoleonic  period,  and  more  especially  since  1859,  Milan 
has  assumed  a  modern  appearance,   owing  to  comprehensive  internal  im- 


134    RduUTi.  MILAN.         a.  Fromthf  Piatmdet. 

provements,  to  wUicIi  many  notable  buildings  have  been  .sacrificed.  In 
painting  it  ranks  with  Venice  and  Rome  among  the  most  important  artistic 
centres  of  modern  Italy.  Sculpture  is  here  carried  on  to  such  an  extent 
as  to  have  become  almost  a  special  industry.  The  Milanese  sculptors 
take  great  pride  in  their  technical  skill ,  and  in  effective  imitations  of 
nature. 

a.  From  the  Piazza  del  Dnomo  to  the  Central  Station.  Northern 
Quarters  of  the  City.    The  Brera. 

The  focus  of  the  commercial  and  public  life  of  Milan  is  the 
*Piazza  del  Dnomo  (PI.  E,  5),  which  has  been  much  extended 
since  1876,  and  is  now  enclosed  on  the  N.  and  S.  by  imposing  edi- 
fices designed  by  Mengoni  (p.  137).  It  is  a  centre  for  electric 
tramways. 

The  celebrated  **Catliedral  (PI.  E,  F,  5) ,  dedicated  'Mariae 
Nascenti\  as  the  inscription  on  the  facade  announces  and  as  the 
gilded  statue  on  the  tower  over  the  dome  also  indicates,  is  built  on 
the  site  of  the  smaller  early  -  Christian  basilica  of  Santa  Maria 
Maggiore.  It  was  at  that  period  the  largest  church  in  existence 
and  it  is  still  one  of  the  largest  and  most  sumptuous  in  the  world. 
This  huge  structure  covers  an  area  of  14,000  sq.  yds.  (of  which  about 
2400  sq.  yds.  are  taken  up  by  the  walls  and  pillars),  and  holds  about 
40,000  people.  The  interior  is  162  yds.  in  length,  the  transept 
96  yds.  in  breadth,  the  facade  73  yds.  in  breadth ;  nave  157  ft.  in 
height,  18  yds.  in  breadth.  The  dome  is  223  ft.  in  height,  the  tower 
354  ft.  above  the  pavement.  The  roof,  marble  like  the  rest  of  the 
building,  is  adorned  with  98  pinnacles,  and  the  exterior  with  upwards 
of  2000  statues  in  marble.  The  stained-glass  windows  in  the  choir 
are  said  to  be  the  largest  in  the  world.  The  cathedral  was  founded 
by  the  splendour-loving  Giovanni  Galeazzo  Visconti  in  1386.  The 
general  style  of  the  building  is  Gothic,  but  it  shows  many  peculiari- 
ties, due,  perhaps,  to  a  compromise  among  several  competing  de- 
signs. Simone  da  Orsenigo  and  Marco  da  Campione  (d.  1390)  are 
named  as  the  earliest  master-builders.  The  building  progressed 
but  slowly,  owing  to  the  dissensions  between  the  Italian  architects 
and  the  German  and  French  musters  [Nicholas  de  Bonavenluri,  Hans 
von  Freiburg,  Heinrich  von  Omiind,  Vlrich  von  Fiissingen,  Jean 
Mlgnot^  and  others),  who  were  frequently  called  to  their  aid.  Be- 
tween 1459  and  1476  Giovanni  Solari  and  his  son  Quiniforte  Solari 
are  mentioned  among  the  superintendents  of  the  building-opera- 
tions; about  1500  Francesco  di  Oiorgio  of  Siena  and  Oiov.  Ant. 
Amadeo  appear  to  have  been  associated  in  that  office ;  and  after 
them  the  work  was  conducted  by  Oiov.  Dolcebuono ,  Cristoforo 
Solari,  etc.  The  crypt  and  the  baptistery,  the  style  of  which  is  quite 
out  of  harmony  with  the  general  design  of  the  building,  were  added 
in  the  second  half  of  the  16th  cent,  by  Pellegrino  Tibaldi,  who  also 
laid  down  the  marble  pavement  and  designed  a  baroque  facade.  The 
church  was  consecrated  by  San  Carlo  Borromeo  on  Oct.  20th,  1577. 


iHiomo  fotlie  N.  Quartern.     MILAN.  '2'J.  Roitie     135 

The  dome  was  begun  in  1759  by  the  architects  Croce  ami  MeruLa, 
and  was  finished  ten  years  later.  The  facade,  begun  in  1616  after 
Tibaldi's  design,  remained  uncompleted  until  in  1805  Napoleon 
(whose  marble  statue,  in  antique  costume,  is  among  those  on  the 
roof)  caused  the  works  to  be  resumed,  with  moditlcations  by  Zanoia 
and  Amati.  Since  1903  the  upper  portion  of  the  facade  has  been 
gradually  restored. 

The  church  is  cruciform  in  shape,  with  double  aisles  and  a  tran- 
sept, the  latter  also  flanked  with  aisles.  The  Interior  (open  from 
5.30  or  6.30  a.m.  till  dusk)  is  supported  by  fifty-two  pillars,  each 
16  paces  in  circumference,  the  summits  of  which  are  adorned  with 
canopied  niches  with  statues  instead  of  capitals.  The  pavement 
consists  of  mosaic  in  marble  of  different  colours. 

Interior.  By  tbe  principal  inner  portal  are  two  huge  monolith  col- 
lamns  of  granite  from  the  quarries  of  Baveno  (see  p.  198).  —  Right  Aisle 
Sarcophagus  of  Archbishop  Aribert  (1018-45),  above  which  is  a  gilded 
cracilix  of  the  11th  century.  Monument  of  Ottone  Visconti  (d.  1295)  and 
Giovanni  Visconti  (d.  1354),  both  archbishops  of  Milan.  Gothic  monument 
of  Marco  Carelli  (d.  1394),  by  Niccolb  d'Arezzo  of  Florence  (?).  Tomb  of 
Canon  Viraercati,  by  Damhaia.  —  Right  Transept  (W.  wall):  Monument 
of  the  brothers  Giovanni  Giacomo  and  Gabriele  de'  Medici,  both  of  Milan, 
erected  by  their  brother  Pope  Pius  IV.  (1560-62),  the  bronze  statues  by 
Leone  Leoni.  [Tickets  for  the  roof  (see  p.  136)  are  obtained  near  this  mon- 
ument; the  staircase  leading  to  the  dome  is  in  the  corner  of  the  side-wall.] 
The  altar  of  the  Offering  of  Mary  (E.  wall  of  S.  transept)  is  adorned  with 
fine  reliefs  by  JIambaia,  with  a  relief  of  the  Nativity  of  the  Virgin  by  Tcai- 
tardini  at  the  foot.  Adjacent  is  the  Statue  of  St.  Bartholomew  by  Marco 
Agrate  (1562),  anatomically  remarkable,  as  the  saint  is  represented  flayed, 
with  his  skin  on  his  shoulder,  and  bearing  the  modest  inscription  'non 
me  Pra.xiteles  sed  Marcus  finxit  Agrates'. 

AiiBULATOKT.  The  door  of  the  S.  Sacristy  here  is  remarkable  for  its 
richly  sculptured  Gothic  decorations,  hy  Hans  Fernach  (1393).  In  the  sacristy 
is  the  Treasury  (adm.  1  fr.),  which  contains  silver  statues  and  candelabra 
(if  the  17th  cent. ;  the  enamelled  Evangelium  of  Abp.  Aribert ;  diptychs 
of  the  6th  cent.;  book-covers  adorned  with  Italian  and  Byzantine  carving 
of  the  early  middle  ages  ;  ivory  vessel  belonging  to  Bishop  Godfrey;  a 
golden  Pax  by  Caradosso ;  and  lastly  a  statue  of  Christ  by  Cristoforo  Solari. 

In  the  ambulatory,  a  little  farther  on,  is  a  highly  revered  Madonna, 
erroneously  ascribed  to  Luini,  beyond  which  is  a  sitting  figure  of  Martin  V. 
by  Jacoptno  da  Tradate  (1421).  Then  the  black  marble  Monument  of 
Cardinal  Marino  Caracciolo  (d.  1538) ,  by  Sambaia.  The  fourth  of  the 
handsome  new  Gothic  confessionals  is  for  the  German,  French,  and  English 
languages.  The  stained  glass  in  the  three  vast  choir-windows,  comprising 
350  representations  of  Scriptural  subjects,  were  executed  by  Giov.  Berlini 
(1844) ;  most  of  them  are  copies  from  old  pictures.  — Before  the  N.  Sackistt 
is  reached  the  statue  of  Pius  IV.  is  seen  above ,  in  a  sitting  posture,  by 
Angela  Sic.iliano.  The  door  of  this  sacristy  also  is  adorned  with  fine  sculp- 
tures by  Jac.  da  Campione  (d.  1398). 

In  front  of  the  choir,  below  the  dome,  is  the  subterranean  Cappella 
San  Carlo  Borromeo  (p.  202),  with  the  tomb  of  the  saint;  entrance  opposite 
the  doors  to  the  sacristy,  to  the  N.  and  S.  of  the  choir  (open  till  10  a.m., 
at  other  times  1  fr.;  for  showing  the  relics  of  the  saint  5  fr.). 

In  the  centre  of  the  N.  Transept  is  a  valuable  bronze  "Candelabrum, 
in  the  form  of  a  tree  with  seven  branches  and  decorated  with  figures  on 
the  lower  portions  (prob.  French  work  of  the  13th  cent.). 

Left  Aisle.  Altar-piece,  painted  in  1600  by  Fed.  Barocdo,  rcpresent- 
;  Sant'  Ambrogio  releasing  Emp.  Theodosius  from  ecclesiastical  penalties. 
The  third  chapel  contains  the  old  wooden  Crucifix  which  San  Carlo  Borro- 


136    Route  'J2.  MILAN.        a.  From  the  Piazza  del 

meo  bore  in  1576,  when  engaged,  barefooted,  in  his  missions  of  mercy 
during  the  plague.  Adjacent,  the  monument  of  three  archbishops  of  the 
Arcimboldi  family  (ca.  1550),  and  by  the  w;ill,  the  statues  of  eight  Apostles 
(13th  cent.).  Not  far  from  the  N.  side-door  is  the  Font,  consisting  of  an 
antique  bath  of  porphyry ;  canopy  by  Pellegrino  Tibaldi. 

The  traveller  should  not  omit  to  ascend  to  the  *Roof  and 
TowBB  of  the  Cathedral.  The  staircase  ascends  from  the  corner  of 
the  right  transept  (ticket  25  c),  where  an  excellent  panorama  of  the 
Alps  by  Pirola  may  be  bought  (75  c).  Single  visitors  are  not  now 
admitted,  except  when  other  visitors  are  already  at  the  top.  The 
visitor  should  mount  at  once  to  the  highest  gallery  of  the  tower  (by 
194  steps  inside  and  300 outside  the  edifice).  A  watchman,  generally 
stationed  at  the  top,  possesses  a  good  telescope. 

View.  To  the  extreme  left  (S.W.),  Monte  Viso,  then  Mont  Cenis 
(p.  2);  between  these  two,  lower  down,  the  Superga  (p.  41)  near  Turin; 
Mont  Blanc,  Great  St.  Bernard;  M<inte  Rosa,  the  most  conspicuous  of  all; 
then,  the  Mischabelhorner,  Monte  Moro,  theFletschhorn,  the  Monte  Leone 
near  the  Simplon,  the  Bernese  Alps,  and  Spliigen,  the  Bernina,  and  (in 
the  distance  to  the  E.)  the  Ortler.  The  foreground  on  the  N.  is  occupied 
by  the  hilly  district  between  the  Lago  Maggiore  and  the  Lago  di  Como. 
To  the  S.  the  Certosa  di  Pavia  (p.  162)  is  visible,  farther  E.  the  towers 
and  domes  of  Pavia  itself,  in  the  background  the  Apennines.  Perfectly 
clear  weather  is  necessary  to  see  all  these  points. 

In  the  gardens  in  front  of  the  cathedral  rises  the  colossal  bronze 
Equestrian  Statue  of  Victor  Emmanuel  11.^  completed  in  1896  from 
the  model  by  Ercole  Rosa  (d.  1893).  The  well-executed  reliefs  on 
the  pedestal  represent  the  Allies  entering  Milan  after  the  battle  of 
Magenta. 

The  W.  side  of  the  Piazza  del  Duomo  is  skirted  by  the  Via  Carlo 
Alberto  (see  p.  146),  beyond  which,  to  the  N.W.,  lies  the  Piazza 
de'  Mercanti  (p.  146). 

To  the  S.  stands  the  Palazzo  Reale  (PI.  E,  F,  5,  6;  adm.,  see 
p.  131),  built  in  1772  by  Gius.  Piennurini  on  the  site  of  the  Palazzo 
di  Corte,  the  earliest  mansion  of  the  Visconti  and  the  Sforza.  It  is 
adorned  with  frescoes  by  Appiani,  *B.  Luini  (from  the  Casa  della 
Pelucca,  near  Monza),  and  Hayez,  and  contains  several  handsome 
saloons.  In  the  street  to  the  left,  beyond  the  palace,  are  visible  the 
tovrer  (1330;  built  by  F.  Pecorari)  and  apse  of  the  church  of  San 
Gottardo,  formerly  the  chapel  of  the  Visconti.  —  Adjacent,  on  the  E., 
in  the  Piazza  del  Campo  Santo  (formerly  the  cathedral-cemetery), 
rises  the  large  Archiepiscopal  Palace  (Palazzo  Arcivescovile ; 
PL  F,  5),  originally  built  at  the  ind  of  the  15th  cent,  in  the  early- 
Renaissance  style,  but  altered  in  1570  by  Pellegrino  Tibaldi,  while 
the  facade  towards  the  Piazza  Fontana  was  designed  by  Fahio 
Mangone.  The  handsome  first  court  has  a  double  colonnade  and 
marble  statues  (Moses  and  Aaron)  by  Tantardini  and  Strazza.  The 
second  court,  on  the  side  next  the  Piazza  Fontana,  is  embellished 
with  Corinthian  columns  of  the  15th  century. 

On  the  N.  side  is  the  imposing  palatial  facade  (finished  in 
1878)  which  forms  the  entrance  to  the  *Galleria  Vittorio  Emanuele 


J >uomo  to  the  N.  Quarters.     MILAN.  'J'2.  Route.    137 

(PI.  E,  5),  connecting  the  Piazza  del  Duomo  with  the  Piazza  della 
Scala.  This  is  the  most  spacious  and  attractive  structure  of  the 
kind  in  Europe.  It  was  built  in  1865-67  hy  Oius.  Mengoni,  who 
unfortunately  lost  his  life  by  falling  from  the  portal  in  1877.  The 
gallery,  which  is  said  to  have  cost  8  million  fr.  (320,000i.) ,  is 
213  yds.  in  length,  16  yds.  in  breadth,  and  85  ft.  in  height.  The 
form  is  that  of  a  Latin  cross,  with  an  octagon  in  the  centre,  crowned 
at  a  height  of  164  ft.  with  a  glass  cupola. 

In  the  Largo  Santa  Margherita  (PI.  E,  5),  on  the  "W.  side  of 
the  Galleria,  stands  a  bronze  statue,  by  Ettore  Ferrari  (1901),  of 
Carlo  Cattaneo  (1801-69),  the  economist  and  patriot. 

The  Piazza  della  Scala  (PI.  E,  4)  is  embellished  with  the 
Monument  of  Leonardo  da  Vinci  (1452-1519)  by  Magni,  erected 
in  1872.  The  colossal  statue  of  the  master  stands  on  a  lofty  pedestal, 
surrounded  by  Marco  d'Oggiono,  Cesare  da  Sesto,  Salaino,  and  Bol- 
trafflo,  four  of  his  pupils.  —  In  the  piazza,  to  the  N.W.,  is  the 
Teatro  alia  Scala  (p.  130).  To  the  S.E.  is  the  large  Palazzo 
Marino  (PI.  E,  4),  in  which  the  Municipio  has  been  established 
since  1861,  erected  by  Galeazzo  Alessi  in  1558-60  for  Tom.  Marini 
of  Genoa.  The  main  facade,  towards  the  Piazza  della  Scala,  was 
completed  in  1890  from  the  designs  of  Luca  Beltrami.  The  *Court 
and  the  council-chamber  (formerly  the  ball-ronm)  on  the  first  floor 
are  interesting. 

Behind  the  Pal.  Marino  is  the  Piazza  San  Fedele,  with  a  mon- 
ument to  Alessandro  Manzoni  (p.  171)  and,  to  the  N.,  the  Jesuit 
church  of  San  Fbdble  (  PI.  E,F,4),  erected  by  San  Carlo  Borromeo  in 
1569  from  designs  by  Pellegrino  Tibaldi  and  containing  a  sump-, 
tuous  high-altar.  The  adjoining  Palazzo  del  Censo  ed  Archivio,  for- 
merly the  Jesuit  college,  contains  part  of  the  government  archives. 
—  To  the  N.E.  of  this  point  is  the  Via  degli  Omenoni,  with  the 
palace  of  the  same  name  (No.  11,  erected  by  Leone  Leoni  and 
adorned  with  Atlant<58.  The  Via  degli  Omenoni  ends  in  the  Piazza 
Belgioioso,  which  contains  the  Palazzo  Belgioioso  (No.  2)  and 
ManzonVs  House  (No.  3 ),  with  frescoes  by  Giac.  Campi  (1894). 

Adjacent,  Via  Morone  10,  is  the  *Mu8eo  Poldi-PezzOli  (PI.  E, 
r,  4),  bequeathed  to  the  town  by  Gian  Giac.  Poldi-Pezzoli  in  1879 
and  exhiliited  in  the  tastefully-furnished  house  formerly  occupied 
by  the  founder.  The  collections  include  valuable  pictures,  textile 
fabrif-s,  arms  and  armour,  and  small  objects  of  antiquity  (adm., 
p.  131  ;  catalogue,  19il2,  1  fr.).    Director,  Camillo  Boito. 

Ground  Floor.  —  In  Room  I  are  Oriental  carpets.  —  Rooi  II.  Coptic 
Icxtiles  and  pajnliiigs:    73.  Carlo  iloratta.  Portrait  of  a  cardinal. 

First  Floor.  In  the  Sala  Vkrue  (to  the  left),  formerly  the  library, 
is  an  ancient  Flemish  tapestry  (15th  cent.),  representing  King  Solomon  and 
the  Queen  of  Sheba,  unit  the  following  paintings:  "95.  .Riftera,  Portrait  of 
an  ecclesiastic  (1638);  103.  Fr.  Guardi,  Lagoon  at  Venice;  113-115.  O.  B. 
Tiepolo,  Madonna  with  .saints,  Two  sketches.  —  The  Antisala  and  the 
Sala  Gialla,  the  next  two  rooms,  contain  nothing  of  importance. 


138    Route  22.  MILAN.  a.  Northern  Quarters: 

Salone  Dorato  (lo  the  right).  In  the  wall -case  is  porcelain  from 
Dresden,  China,  Capodimontc,  Vienna,  Sevres,  and  elsewhere.  In  the 
cases  at  the  window;  to  the  left,  antique  gold  ornaments  and  silver  plate; 
to  the  right,  goldsmith's  work  of  the  16-18fh  cent.  ;  in  the  centre-cases, 
valuable  ecclesiastical  vessels,  etc.  (some  Gothic);  in  the  last  case,  antique 
glass,  vases,  and  bronzes.  Beside  the  nairror,  Persian  weapons  and  line 
"■Persian  carpet  (14th  cent.).  Among  the  pictures  may  be  mentioned: 
*157.  Z>om.  Veneziano  (sometimes  ascrilied  to  Piero  della  Francesco  or  Ant. 
PoUainolo)y  Portrait  of  a  woman ;  156.  Botticelli^  Madonna.  In  the  small 
room  adjacent:  436.  PeseUino(?),  Annunciation.  —  Sala  Nera.  Pictures: 
473.  SignoreUi^  Mary  Magdalen;  474.  Borgognone ,  St.  Catharine;  '477. 
Marioito  Albertinelli,  Small  winged  altar-piece,  with  the  Bladonna  and 
SS.  Catharine  and  Barbara  within  and  the  Annunciation  without  (1.500). 
—  Sala  dei  Vetri  (formerly  a  bedroom).  Glass  from  Venice  and  Murano. 
Pictures:  490  492.  Fra  Viltore  Ohislandi  (p.  212),  Portraits;  489.  Bertini, 
Portrait  of  the  founder.  —  Corner  Room  (Gabinetto  Dante).  Romanesque 
crosses  and  reliquaries.  —  Sala  degli  Specchi.  555.  Oirolamo  Romanino  (?)•, 
Madonna  enthroned  with  saints  and  angels,  in  an  attractive  landscape;  560. 
Palma  Vecchio,  Portrait. 

Sala  del  Pekugino.  577.  Michele  da  Verona(Oi  Samson  and  Delilah 
(signature  'Victor  Carpatias'  forged);  581.  And.  Verroccldo,  Madonna  with 
angels  (school-piece);  589.  Ant.  Vivarini,  Madonna  enthroned,  with  argels; 
593.  Ambrogio  Lorenzetli,  Same  subject;  591.  Ste/ano  da  Zevio,  A  hermit 
saint;  597.  Cosimo  Tiira,  Maternal  love  (school-piece);  5l,'8.  Piero  della 
Francesco,  St.  Dumiiiic;  600.  Cos.  Tura,  A  canonized  bishop;  '^£03.  Pieiro 
Perugino,  Madonna  with  angels  (on  an  oa^el). 

Gabinetto  dei  Veneti.  617,  618.  Bart.  Montagna.,  St.  Jerome  and  St. 
Paul;  620,  621.  Carlo  Crivelli,  Clirist  and  St.  Francis,  St.  Sebastian;  624. 
Oiov.  Bellini,  Pieta;  623.  Cima  da  Conegliano,  Head  of  a  youthful  saint; 
*625.  Mantegna,  Madonna  with  the  sleeping  Child  (early  work;  showing 
the  influence  of  Donatello);  627.  Franc.  Buonsignori,  Portrait;  611.  Andr. 
Previtali,  Portrait.  —  Returning  to  the  Sala  degli  Specchi,  we  enter,  to 
the  right,  the  — 

Sala  dei  Lombakdi.  "637.  Andrea  Sulario,  EcceHomo;  640.  Borgog- 
none.  Madonna  with  singing  angels;  "642.  Oiov.  Ant.  Boltra/Jio,  Madonna; 
643.  Vin.  Foppa,  Madonna;  A.  Solaria,  *655.  Rest  on  the  Flight  into  Egypt 
(1515),  653.  John  the  Baptist,  657.  St.  Catharine  of  Alexandria;  B.  Luini,  659. 
Bearing  of  the  Cross  with  the  weeping  Mary,  663.  Marriage  of  St.  Catharine. 
On  easels  :  667.  Cesare  da  Sesto,  filadonna  with  the  Lamb  (showing  Leon, 
da  Vinci's  influence);  no  number,  Solaria,  M;idonna.  —  Three  bridal  chests 
(i5th  cent.),  that  on  the  right  with  two  charming  medallions  by  Bart. 
Montagna  (?).  —  We  now  return  and  enter  the  ARMoURy  to  the  right. 

The  Via  Alessandro  Manzoni  (PI,  E,  F,  4,  3 ;  tramway  to 
the  Central  Station,  see  p.  130),  one  of  the  chief  thoroughfares  of 
the  city,  begins  at  the  Piazza  della  Scala  (p.  137).  In  the  Via  Bigli, 
the  first  cross-street  beyond  the  Via  Morone,  stands  the  Casa  Ta- 
uerna  or  Ponti  (No.  11,  to  the  right),  with  a  fine  portal  and  an  ad- 
mirably restored  court  of  the  beginning  of  the  16th  century.  — 
From  the  Via  del  Monte  Napoleone,  the  next  cross-street,  we  turn 
to  the  left  into  the  Via  Santo  Spirito  (PI.  F,  4,  3),  with  the  Palazzi 
Bagatti-Valsecchi  (No.  10  on  the  right,  No.  7  on  the  left),  built  in 
1882  and  1895  In  the  style  of  the  16th  cent,  and  adorned  with 
art-treasures  (visitors  admitted;  fee  1  fr.). 

The  Via  Alessandro  Manzoni  ends  at  the  Piazza  Cavour  (PI.  F,  3), 
In  which,  opposite  the  S.W.  entrance  of  the  Giardini  Pubblici 
(p.  161),  rises  a  Bronze  Statue  of  Cavour,  by  Tabacchi,  with  a  figure 
of  Clio,  by  Tantardini,  on  the  pedestal.   —   To  the  right  is  the 


Brera.  MILAN.  22.  Route.    139 

Ibtituto  Tecnico  SurERioRE,  in  the  court  of  which  is  a  statue 
of  the  mathematician  Francesco  Brioschi  (1824-97J. 

Farther  on,  in  the  Via  Principe  Umherto,  to  the  left,  is  a  statue 
of  Agostino  Bertano  (1812-86),  physician  and  statesman.  To  the 
right  (No.  32)  are  the  show-rooms  of  the  Societd.  per  le  Belle  Arti 
(PI.  F,  2;  adm.,  see  p.  131).  This  street  ends  at  the  Porta  Principe 
Umberto  (PI.  F,  1)  and  the  large  open  space  in  front  of  the  Central 
Station  (p.  128). 

At  the  N.W.  angle  of  the  Piazza  della  Scala  begins  the  Via 
OiusEPPB  Vkrdi  (PI.  K,  4),  which  is  traversed  by  the  tramway 
(No.  5 ;  p.  130)  to  the  Porta  Volta.  To  the  right  is  the  former  Casino 
de'  Nobili  (Nos.  2  &  4),  with  a  Renaissance  court  by  Bramante.  — 
In  the  Via  del  Monte  di  Pietk,  the  second  side-street  on  the  right, 
is  the  handsome  Cassa  diRisparmio,  or  savings-bank,  by  Balzarctti. 

—  The  Via  di  Brera,  forming  a  prolongation  of  the  Via  Giuseppe 
Verdi,  leads  to  the  — 

*Palazzo  di  Brera  (PI.  E,  3;  No.  28),  built  for  a  Jesuit  college 
by  Richifio  in  1651  et  seq.,  since  1776  the  seat  of  the  Accademia 
di  Belle  Arti,  and  now  styled  Palazzo  di  Scienze,  Lettere  ed  Arti. 
It  contains  the  Picture  Gallery  described  below,  the  Library  founded 
ill  1770  (300,000  vols.;  adm.,  see  p.  131),  the  Reale  Gabinetto 
\umismatico,  or  Collection  of  Coins  (50,000;  adm.,  see  p.  131), 
and  the  Observatory,  founded  in  1766. 

In  the  handsome  Court  is  a  bronze  statue  of  Napoleon  I.,  as 
a  Roman  emperor,  by  Canova,  considered  one  of  his  finest  works 
(1810),  erected  here  in  1859.  By  the  staircase,  to  the  left,  the 
statue  of  the  celebrated  jurist  Cesare  Beccarta  (1738-94),  who  was 
the  first  scientific  opponent  of  capital  punishment.  The  court  is 
also  adorned  with  several  other  statues. 

The  staircase  ascends  to  the  first  floor,  on  which  is  the  *PictTire 
Gallery  or  Pinacoteca,  founded  in  1809.  Adm.,  see  p.  131;  catalogue 
(1904),  1  fr. ;  large  scientific  catalogue  in  preparation.  Director, 
Dr.  G.  Sinig'igUa.  The  collection  has  been  greatly  enlarged  in  recent 
years  by  bequest  and  piirchase;  and  in  1899-1902  it  was  rearranged 
according  to  schools  by  Corrado  Ricci,  the  late  director  (p.  484). 

—  The  chief  strength  of  the  cnllertion  lies  in  the  large  number  of 
works  by  N.  Italian  masters.  Among  the  paintings  of  the  15th 
cent.,  the  three  f  xamplcs  of  Maniegnn  (Room  IX)  rank  first.  The 
collection  also  affords  an  instructive  survey  of  the  progress  of  Carlo 
CriveUi  (R.  IX),  a  master  who  flourished  in  1468-93  and  con- 
nects the  Paduan  school  with  that  of  Venice.  The  most  notable 
works  of  the  latter  school  are  The  Preaching  of  St.  Mark  by  Gentile 
Bellini  (R.  V),  three  works  by  Giovanni  Bellini  (R.  IX),  and  three 
by  Cima  da  Conegliano  (R.  V);  and  of  a  later  period  The  Finding 
of  Moses  by  Bonifnzio  I.  (R.  IV),  the  Portrait  of  Porcia  and  the 
St.  Jerome  by  Titian  (R.  VI),  Tintoretto's  Finding  of  the  body  of 


140   Route  22. 


MILAN.        a.  Northern  Quarters  . 


St.  Mark  (li.  IV),  and  tlie  admirable  series  of  portraits  by  Lorenzo 
Lotto  (R.  VII),  rivalled  lay  Oiov.  Bait.  Moroni  of  Bergamo  (R.  III). 
The  Lombard  pupils  oi  Leonardo  da  Vinci  are  amply  and  adequately 
represented  in  RR.  XIV  and  XV.  The  Madonna  in  a  bower  of  roses 
(R.  XVI)  is  the  best  of  the  oil-paintings  by  Bernardino  Luini,  and 
the  best  of  his  frescoes  are  thfe  Madonna  with  SS.  Anthony  and  Bar- 


yi  o  /•'. 


O  s  c  u,  r  V 


bara  ( R.  II)  and  the  Burial  of  St.  Catharine  (R.  XVI).  The  schools 
of  Emilia  are  illustrated  by  interesting  works  by  the  Ferraresc 
masters  Ercole  de'  Eoberti  and  Dosso  Dossi  (R.  XX).  Of  Correggio 
the  collection  now  possesses  an  admirable  early  work  (R.  XX). 
The  examples  of  the  masters  of  Central  Italy  are  few  in  number, 
but  they  include  not  o)ily  exquisite  works  by  the  Umbrians  Gentile 


Brera. 


MILAN.  22.  Route.   141 


da  Fabriano  and  Piero  ddla  Francesca  (R.  XXV),  but  also  Raphael's 
far-famed  Sposalizio  (R.  XXII),  the  chief  work  of  his  first  Urabriau 
period,  and  Bramante's  vigorous  frescoes  (R.  XXIV),  which  are 
perhaps  the  most  valuable  of  the  recent  acquisitions.  Domenichino 
and  Guercino  (R.  XXVII)  represent  the  Italian  masters  of  the  17th 
century.  The  most  important  works  of  foreign  schools  are  the  por- 
traits of  ladies  by  VanDyck  (R.XXXl)  and  by  Rembrandt  (II.  XXX). 

From  Room  I,  in  which  admission-tickets  are  obtained,  we  enter 
(to  the  right)  — 

Room  II.,  a  long  gallery,  hung  with  frescoes  of  the  Lombard 
Scliool.  To  the  left,  15. -Bramrrntjno,  Madonna  enthroned,  with  angels; 
Vine.  Foppn^  19.  Madonna  with  SS.  John  the  Baptist  and  John  the 
Evangelist  (1485),  20.  Martyrdom  of  St.  Sebastian;  22-25.  Borgog- 
none,  Nine  saints  (from  San  Satire),  Madonna  with  angels;  to  the 
right,  33.  Gaud.  Ferrari,  Adoration  of  the  Magi;  to  the  left,  Ber- 
nardino Luini,  *66.  Madonna  with  SS.  Anthony  and  Barbara  (1521), 
73.  Sacrilice  to  Pan,  74.  Apollo  and  Daphne,  76  (r.).  Birth  of  Adonis, 
these  three  from  the  Casa  della  Felucca  (p.  136).  —  The  Anteroom 
on  the  right  contains  the  archives  and  a  large  collection  of  photo- 
graphs for  purposes  of  study.  —  Straight  on  are  the  nine  — 

Rooms  of  the  Venetian  Schools  of  the  15 -18th  centuries. 
Room  III.  To  the  left,  Moretto,  91.  Madonna  with  SS.  Jerome,  An- 
thony Abbas,  and  Francis  (injured),  92.  Assumption.  —  93.  Moretto, 
St.  Francis;  QS.  Romanino,  Madonna;  99.  Franc.  Torbido,  Portrait; 
*100.  Giov.  Bait.  Moroni,  Portrait  of  Navagiero,  Podesta  of  Bergamo 
(1565);  Paris  Bordone,  104.  Holy  Family  with  St.  Ambrose  and  the 
donor,  105.  Love-scene.  —  *114.  Girol.  Savoldo,  *Madonna  and  four 
saints;  116.  Cariani,  Holy  Family  with  six  saints.  —  119.  Palma 
Vecchio,  Adoration  of  the  Magi  (completed  by  Cariani).  —  To  the 
left  is  — 

Room  IV.  To  the  left,  Paolo  Veronese,  *139.  SS.  Anthony  Abbas, 
Cornelius,  and  Cyprian,  amonk,  and  a  page,  the  finest 'conversazione' 
piece  (see  p.  291)  by  this  master,  140.  Christ  at  the  house  of  Simon 
the  Pharisee;  142.  Juc.  Tintoretto,  SS.  Helena,  Macarius,  Andrew, 
and  Barbara.  —  **143,  Tintoretto,  Finding  of  the  body  of  St.  Mark, 
from  the  Scuola  di  San  Marco  in  Venice  (ca.  1548;  comp.  p.  298); 
*144.  Bonifazio,  Finding  of  Moses,  in  the  style  of  Giorgione.  —  148. 
Paolo  Veronese,  Adoration  of  the  Magi  (injured).  —  To  the  left  is  — 

Room  V.  To  the  left,  160.  Michele  da  Verona,  Crucifixion  (1501). 
—  164.  Gentile  Bellini  (completed  by  Giovanni  Bellini),  Preachinji- 
of  St.  Mark  at  Alexandria,  from  the  Scuola  di  San  Marco  in  Venice 
(injured);  *105.  Bart.  Montagna,  Madonna  enthroned,  with  saints 
and  angels  with  musical  instruments,  one  of  the  master's  best  works 
(1499).  —  Vitt.  Carpaccio,  170.  St.  Stephen  and  the  Scribes  (1514), 
171.  Presentation  of  the  Virgin  (1504);  Cima  da  Conegliano,  *174. 
St.  Peterwith  John  the  Baptist  and  St.  Paul,  175.  Madonna  enthroned, 
vfith  SS.  John  the  Bapti.st,  Sebastian,  Rochns,   and  Mary  Magdalen 


142    Route  22.  MILAN.  a.  Northern  Quarters: 

(ail  early  work).  —  177.  Liberate  da  Verona,  St.  Sebastian;  *176. 
Cima  da  Conegliano,  SS.  Peter  Martyr,  Augustine,  and  Nicholas  of 
Bari.  —  To  the  right  is  — 

Room  VI.  Titian,  *180.  Portrait  of  Count  Porcia  (of  the  master's 
middle  period,  ca.  1537;  injured),  *182.  St.  Jerome  in  a  fine  sylvan 
landscape,  a  characteristic  example  of  his  later  style  (about  1560). 

Room  Vil  *183-185.  Lorenzo  Lotto,  Three  portraits. 

'The  fine-chiselled  features  (of  the  ladyj,  extremely  pure  in  drawing, 
charm  by  their  mild  expression.  A  delicate  but  healthy  complexion  is  . 
displayed  in  warm  sweet  tones  of  extraordinary  transparence;  and  masterly 
transitions  lead  the  eye  from  opal  lights  into  rich  and  coloured  shadows. 
A  half  length  in  the  same  collection  represents  a  man  of  lean  and  bony 
make  with  a  swallow-tailed  beard  ,  a  grey  eye ,  close  set  features,  and  a 
grave  aspect.  ...  A  third  half  length,  companion  to  these,  offers  another 
variety  of  type  and  execution.  A  man  stands  at  a  table  in  a  pelisse  with 
a  fox  skin  collar;  he  is  bare-headed  and  bearded.  His  right  hand  rests 
on  the  table  and  grips  a  handkerchief.  The  ruddy  skin  of  the  face  is 
broken  with  touches  now  warm  now  cold  by  which  the  play  of  light  and 
reflections  is  rendered  with  deceptive  truth'.  —  G.  dt  C. 

We  proceed  through  Room  VIII  and  to  the  left  enter  — 
Room  IX,  containing  masterpieces  of  the  15th  century.    To  the 
right,  Andrea  Mantegna,  *198.  Madonna  in  a  nimbus  of  angels' 
heads ;  199.  Pieta. 

'It  is  a  picture  in  which  Mantegna's  grandest  style  is  impressed, 
foreshortened  with  disagreeable  boldness,  but  with  surprising  truth, 
studied  from  nature,  and  imitating  light,  shade,  and  reflection  with  a 
carefulness  and  perseverance  only  equalled  by  Leonardo  and  Diirer;  dis- 
playing at  the  same  time  an  excess  of  tragic  realism,  and  a  painful  un- 
attractiveness  in  the  faces  of  the  Marys.'  —  C.  dk  C. 

Andrea  Mantegna,  200.  Large  altar-piece,  at  the  top  the  Madonna 
and  St.  John  weeping  over  the  dead  body  of  Christ,  below  St.  Lulie 
and  other  saints,  painted  in  1454,  and  a  proof  of  the  early  maturity 
of  the  artist,  then  23  years  old;  Carlo  Crivelli,  *201.  Madonna  en- 
throned, with  four  saints  (1482),  202,  203.  Coronation  of  the  Virgin, 
with  a  Pieta  above  it  (1493),  206.  Crucifixion  with  the  Madonna 
and  St.  John,  *207.  Madonna  enthroned ;  Oiovanni  Bellini,  *214. 
Pieta,  an  early  and  genuinely  impassioned  work,  215.  Madonna  (a 
late  work,  about  1610),  216.  Madonna  (an  early  work  with  Greek 
inscriptions).  —  We  pass  through  Room  VIII  and  to  the  left  enter  — 

Room  X.  223.  Stefano  da  Zevio,  Adoration  of  the  Magi  (1435)  ; 
225.  Franc.  Morone,  Madonna  enthroned  with  SS.  Nicholas  and  Zeno ; 
228.  Antonio  da  Murano  and  Giov.  Alemanno,  Madonna  with  saints. 

Room  XI  (18th  cent.).  230.  G-iov.  Batt.  Tiepolo,  Battle-piece 
(sketch);  235,  236.  Bern.  Belotto,  Landscapes  (near  Varese);  242. 
243.  Franc.  Ouardi,  The  Grand  Canal  in  Venice.  —  We  next  enter 
the  seven  — 

Rooms  of  the  Lombard  Schools.  Room  XII.  No  number,  Defen- 
dente  de  Ferrari,  SS.  Catharine  and  Sebastian,  St.  Andrew ;  248. 
Vine.  Civerchio,  Adoration  of  the  Child.  —  Room  XIII.  To  the  right, 
269,  258.  Borgngnone,  Madonna  with  a  Carthusian  monk  and  SS. 
Clara,  Jerome,  Ambrose,  and  Catharine,  with  a  Pieta  above  it. 


Brera.  MILAN.  22.  Route.   143 

Rooms  XIV  and  XV.  School  of  Leonardo  da  Vinci.  To  the  right, 
262.  Gian  Pietrino,  Mary  Magdalen;  265.  Bern.  Lanini,  Madonna  and 
Child  with  St.  Anna,  271.  Bern,  de"  Conti,  'La  Vierge  aux  Rochers' 
(copies  of  Leonardo's  pictures  in  the  Louvre).  —  Room  XV.  To  the 
right,  276.  Cesar e  da  Sesto,  Jtadonna  under  the  laurel-tree;  277. 
Gaud.  Ferrari,  Madonna;  278.  Franc.  Napoletano,  Madonna;  280. 
Leonardo  da  V'mf/(v),  Head  of  Christ,  a  drawing  (injured):  281. 
Boltraffio,  Kneeling  donors,  remains  of  a  larger  altar-piece;  Andr. 
Solarlo,  282.  Portrait  of  a  man,  285.  Madonna  with  SS.  Joseph  and 
Jerome,  an  early  work  (1495;  restored);  286.  Sodoma,  Madonna. 

Room  XVI,  with  pictures  and  frescoes  hy  Bern.  Luini.  In  the 
1st  Section  :  41-44.  Angels  (from  the  former  Monastero  delle  Vetere 
at  Milan);  *288.  St.  Catharine  placed  in  her  sarcophagus  hy  angels, 
with  the  inscription  C.  V.  S.  Ch.,  i.e.  'Catharina  Virgo  Sponsa  Christi' 
(from  the  Casa  della  Felucca,  p.  136);  289.  Madonna  in  a  grove  of 
roses.  In  the  2nd  Section  (an  imitation  of  the  Chapel  of  St.  Joseph 
in  the  old  church  of  Santa  Maria  della  Pace) :  294-305.  Scenes  from 
the  life  of  the  Virgin,  with  angels. 

Room  XVII.  To  the  right,  321.  Gaud.  Ferrari,  Martyrdom  of 
St.  Catliarine  of  Alexandria.  —  309.  Brdmaniino,  Crucifixion;  308. 
Borgognone,  Assumption  and  Coronation  of  the  Virgin  (1522);  307. 
Vine.  Foppa,  Madonna  enthroned  W'ith  angels,  and  six  panels  with 
figures  of  saints.  —  *310.  Bern.  Zenale  ('?),  Madonna  enthroned,  with 
tlie  four  great  church-fathers,  SS.  Jerome,  Gregory,  Augustine,  and 
Ambrose,  and  the  donors,  Lodovico  il  Moro,  his  wife  Beatrice  d'Este, 
and  their  two  children.  —  On  an  easel:  3l9.  Boltraffio,  Portrait  of 
Girolamo  Casio,  the  poet  (injured;  in  an  old  frame).  —  In  the 
middle,  Dravtdngs  (15-18th  cent.)  hy  Gaud.  Farrari,  Primaticcio, 
Guercino,  Sim.  Cantarini,  and  others. 

Room  XVIII  contains  works  of  the  17-18th  centuries.  — Farther 
on  are  the  two  — 

Rooms  of  the  Schools  of  the  Emilia.  Room  XIX.  To  the 
Tight,  417.  Fil.  Mazzola,  Portrait.  —  Room  XX.  To  the  right,  *428. 
Ercole  de'  Eoherti,  Madonna  enthroned  with  SS.  Anna,  Elizabeth, 
Augustine,  and  the  beatified  Pietro  degli  Onesti  (from  Santa  Maria 
in  Porto  Fuori  at  Ravenna);  429.  Lor.  Costa,  Adoration  of  the  Magi 
(1499)  ;  431-433.  Dosso  Dossi,  Francesco  d'Este  as  SS.  George,  John 
the  Baptist,  and  Sebastian.  — 438.  Garofalo,  Pieta  (1627).  —  439. 
Garofalo,  Crucifixion;  447.  Cos.  Tura.  Fragment  of  a  Crucifixion; 
448.  Franc.  Francia,  Annunciation ;  449.  Franc.  Cossa,  Two  wings 
of  an  altar  with  SS.  Peter  and  John  the  Baptist.  —  On  an  easel: 
*427.  Correggio,  Adoration  of  the  Magi,  an  early  work  in  the  master's 
Ferrarese  style.  —  We  next  enter  — 

Room  XXI;  Schools  of  the  Romagna.  To  the  right,  Nice.  Ron- 
dinelli,  452.  St.  John  the  Evangelist  appearing  to  Galla  Placidia 
(p.  410),  453.  Madonna  enthroned,  with  four  saints.  —  We  now  enter 
the  four  — 


144   Route  22.  MILAN.        a.  Northern  Quarters: 

Rooms  of  the  Schools  of  Central  Italy  (the  Marches ,  Tus- 
cany, Umhria,  etc.). 

Room  XXII.  **472.  Raphael's  far-famed  Sposalizio,  or  the 
Nuptials  of  the  Virgin,  painted  in  1504  for  the  church  of  San 
Francesco  in  Cittli  di  Castello,  where  it  remained  till  1798. 

The  composition  closely  resembles  that  of  the  Sposalizio  of  Perugino 
(now  at  Caen),  in  whose  studio  Raphael  then  worked.  'In  both  paintings 
the  top  is  rounded,  and  in  both  a  small  polygonal  temple,  a  charming 
forecast  of  Bramante's  buildings,  rises  in  the  background.  The  central 
part  of  the  foreground  is  occupied  by  the  Inng-bearded  high-priest,  who 
joins  the  hands  of  the  bridal  pair ;  Mary  is  attended  by  a  group  of  graceful 
virgins,  while  near  Joseph  stand  the  rejected  suitors,  the  most  passionate 
of  whom  breaks  his  shrivelled  wand.  A  closer  examination  of  Raphael's 
work,  however,  divulges  so  many  points  of  divergence,  as  to  make  the 
observer  almost  oblivious  to  its  Peruginesque  character.  The  transposition 
of  the  bride  and  bridegroom  with  their  attendant  groups  to  opposite 
sides  of  the  canvas  is  a  purely  external  difference  and  one  of  little  signi- 
ficance, but  the  conception  and  drawing  of  the  individual  figures  and  the 
more  delicate  disposition  of  the  grouping  reveal  the  original  and  peculiar 
genius  of  the  younger  artist'.  —  '■Raffael  und  Michelangelo\  by  Prof.  An- 
ton Springer. 

Room  XXIII.  To  the  right,  Luca  Slynorelti,  All.  Madonna, 
476.  Scourging  of  Christ  (early  works) ;  *475.  Beno&zo  Oozzoll, 
Miracles  of  St.  Dominic  (part  of  an  altar-piece). 

Room  XXIV.  *489-496.  Bramante,  Ileraclitus  and  Demo- 
critus,  with  six  figures  of  heroes  and  minstrels,  fragments  of  frescoes 
from  the  Casa  Panigarola  (now  Prinetti)  in  Milan.  —  Room  XXV.  To 
the  right,  *497.  Oenti/e  da  Fabriano,  Altar-piece,  above,  Coronation 
of  the  Virgin,  with  four  saints ,  on  the  predella.  Charming  scenes 
from  the  life  of  the  Virgin  (early  work).  —  503.  Oiov.  Santi  (father 
of  Raphael),  Annunciation;  507.  Timoteo  Viti,  Annunciation  with 
SS.  John  the  Baptist  and  Sebastian.  —  505.  Luca  Slgnorelli,  Ma- 
donna enthroned  with  four  saints;  *510.  Piero  della  Francesco,  Ma- 
donna enthroned  with  saints,  angels,  and  the  worshipping  donor, 
Duke  Federigo  da  Montefeltre.  —  Then  come  to  the  two  — 

Rooms  of  thb  Bolognese  School  (16-17th  cent.).  Room  XXVI. 
To  the  left,  538.  Ouido  Rent ,  SS.  Peter  and  Paul.  On  an  easel: 
513.  Franc.  Albani,  Dance  of  Cupids.  —  Room  XXVII.  550.  Dome- 
nichino,  Madonna  enthroned,  with  SS.  John  the  Evangelist  and 
Petronius ;  656.  Quercino,  Expulsion  of  Hagar.  —  Room  XXVIII : 
Roman  School  (16-17th  cent.).  To  the  right,  565.  Ang.  Bronuno, 
Portrait  of  Andrea  Doria  (p.  79)  as  Neptune;  574.  Fed.  Baroccio, 
Martyrdom  of  St.  Vltalis  (1583);  583.  Sassoferrato,  Madonna. 

Room  XXIX :  Schools  of  Genoa  and  Naples.  To  the  right,  603. 
Luca  Giordano,  Madonna  and  saints ;  607.  Salv.  Rosa,  Landscape, 
with  St.  Paul  the  Hermit.    On  an  easel :  613.  Ribera,  St.  Jerome. 

Rooms  XXX  and  XXXI:  Foreign  Schools.  Room  XXX.  To  the 
right,  620.  Herri  de  Bles,  Adoration  of  the  Magi ;  655.  Jan  Brueghel, 
Village-street  (1607).  On  an  easel:  *614.  Rembrandt,  Portrait  of 
his  sister,  an  early  work  (1632).  —  Room  XXXI.  To  the  right,  679. 
Rubens,  Last  Supper  (from  Malines;  ca.  1615-20);  699.  Jac.  Jor- 


I'ul.  Crespi.  MILAN.  I'-J.  Roule.    145 

ilaen',  Abraham's  sacrifice;  701.  A.  ran  Dyck,  Madonna  and  St.  An- 
thony of  Padua.  Near  the  window;  706.  Raphael  Mengs,  Dom. 
Annibali,  the  singer  (1750).  On  an  easel ;  *700.  Van  Dyck,  Princess 
Ainalie  of  Solms. 

The  following  rooms  contain  works  of  the  19th  century.  In  Room  XXXII, 
near  the  2nd  wimlow  :  Fr.  Hayez ,  Portraits  of  Manzoni  (No.  38),  Massimo 
d'Azeglio  t54),  and  Ant.  Rosmini  (56).  —  In  Rooms  XXXIII-XXXV  are 
competitive  de'^igns  by  pupils  of  the  academy  (XXXIII.  Andr.  Appiani, 
Franc.  Hayez,  Dom.  Jnduno,  Ruff.  Casnedi;  XXXIV.  Elent.  Pagliano,  Loii. 
Fogliaghi,  Most  Bianchi;  XXXV.  Oaet.  Freviali,  Fil.  CaTcano,  Am.  Cagnoni). 
Room  XXXV.  also  contains:  Appiani,  Portrait  of  Ugo  Foscolo;  P.  Troit- 
hetzkoy,  Bust  of  Giov.  Segantini. 

At  No.  18  Via  di  Borgo  Nuovo,  behind  the  Brera,  is  the  Palazzo 
Crespi  (PI.  E,  3),  containing  an  important  *  Picture  Gallery  (ca. 
200  pictures  by  old  masters),  to  which  admission  in  courteonsly 
granted  on  previous  application.    Catalogue  in  preparation. 

Room  I.  Titian  (Bern.  Licinio?),  'Portrait  of  a  woman  ('la  Schiavona'') ; 
Bacchiacca,  Adoration  of  the  Magi.  —  To  the  right  is  — 

Room  II.  On  easels:  Florentine  School  (not  Michael  Angela'),  Madonna; 
Mariotto  Alberlinelli,  "Adoration  of  the  Child;  Franc.  Francia,  "St.  Barbara; 
Correggio,  "'Adoration  of  the  Child,  early  work  in  the  master's  Ferrarese 
style;  Liberate  da  Verona,  Hadonna;  Franc.  Granacci,  State-entry  of 
Charles  VIII.  into  Florence.  —  On  the  walls:  Canalelto  (Ant.  Canale),  The 
Grand  Canal  in  Venice;  Bern.  Licinio,  Holy  Family;  Bacchiacca,  JIadonna: 
Set.  Mainardi,  Society  of  the  Rosary  (1195);  Dom.  Morone,  *The  fall  of  the 
Bonacolsi  (p.  257),  with  an  interesting  representation  of  the  Piazza 
Sordello  (1490).  —  In  the  firit  side-room  are  some  Netherlandish  and 
German  works  (B.  Briiyn,  Portrait).  —  In  the  second  side-room:  Fiero  di 
Cosimo  (?),  Portrait;  Franc.  Caroto,  *Holy  Family  (1530);  Oiov.  Batt.  Tiepolo, 
Vision  of  St.  Anna  (with  the  sketch  beside  it),  the  Beata  Laduina;  Ribei-a, 
St.  Jerome;  Bart.  Veneto,  Madonna;  Marco  Basalt',  Madonna  with  two  saints 
(1521);  Giov.  Batt.  Moroni,  Portrait;  5a«w<a  del  Dosso ,  Portrait;  J.  L. 
David,  Portrait. 

Room  III.  On  easels  :  Lor.  Lotto,  'Holy  Family  ;  Be7-n.  Luini,  St.  Jerome  ; 
Oianpietrino.  Madonna;  Ambr.  de  Predis,  Madonna;  Andr.  Solaria,  Portrait; 
Giov.  Ant.  Boltraffio ,  Madonna.  —  On  the  walls:  Solario,  Christ  in  an 
attitude  of  blessing;  Oirol.  Savoldo ,  Adora'ion  of  the  Child;  Romanino, 
•Bearing  of  the  Cross;  Gianpietrino ,  Holy  Family;  Boccaccio  Boccaccina, 
Madonna;  Giov.  Bellini,  'Madonna;  Farig  Bordone,  "Shepherd  and  nymph; 
Morello,  "Viiitatiim;  Palina  Vecchio,  Christ  arisen;  A.  Solaria,  Madonna, 
The  Virgin  at  prayer,  Ecce  Homo;  Gand  Ferrari,  JIadonna;  Ambr.  Bor- 
gognone,  "Adoration  of  the  Child ;  Fine,  i^oppa.  Madonna;  Marco  d'Oggiano, 
Altar-piece  in  three  parts,  Madonna  enthroned  with  angels,  saints  and 
adoring  donors. 

In  the  Bf.droom  :   Gaud.  Ferrari,  *Pii'ta. 

Adjacent,  at  the  junction  of  the  Martesana  (p.  166)  with  the 
Na-viglio,  is  the  church  of  San  Marco  (PI.  E,  3),  originally  a  Gotldc 
building  of  the  13-14th  cent.,  but  entirely  modernized  in  1690. 
The  transept  contains  the  Gothic  tombs  of  Beato  Lanfranco-Settala 
(d.  1243),  by  (fioranni  di  Bnlduccio  (p.  148),  and  the  jurist  Sal- 
varinus  de  Aliprandis  (d.  1344),  by  one  of  the  sculptors  known  as 
the  Campione.si  (see  p.  184). 

To  the  N.W.  of  the  Brera  is  the  church  of  San  Simpliciano 
(PI.  D,  3),  a  fine  Romanesque  structure,  repeatedly  altered  at  a 
later  date;  it  contains  a  Coronation  of  the  Virgin  by  Borgognone 
(restored;  in   the  apse).  —  Farther  to  the  N.,  in  the  Corso  Gari- 

B.iEDEKER.    Italy        13th  Kdit.  10 


146    Route  -J-J.  MILAN.  b.  Piaaa  de  Mercanti. 

baldi  (r.),  not  far  from  the  Porta  Garibaldi,  is  the  Gothic  double 
church  of  Santa  Maria  Incoronata  [PI.  D,  1),  built  in  1461-87. 
The  Cappella  Bossi  contains  the  tombs  of  Giovanni  Tolentino  (d.l51?) 
and  Archbishop  Gabriele  Sforza  (d.  1457),  the  former  in  the  style 
of  Andrea  Fusina. 

To  the  S.W.  of  the  Brera  lies  Santa  Maria  del  Carmine  (PI.  D, 
3,  4),  a  Gothic  cruciform  church  of  the  16th  cent.,  but  now  entirely 
modernized.  In  the  right  transept  is  an  Adoration  of  the  Child,  by 
Vine.  CivercMo  (?).  —  The  Palazzo  Clehici  (now  a  law-court),  in 
the  adjacent  Via  Clerici  (Pl.  E,  4),  contains  an  admirably-preserved 
*  Ceiling  Fresco  by  0.  B.  Tiepolo  in  a  handsome  baroque  room 
(always  open). 

b.  From  the  Piazza  del  Duomo  and  the  Piazza  de'  Mercanti 
to  the  Castello  and  the  Arco  della  Face. 

To  the  W.  of  the  Piazza  del  Duomo ,  beyond  the  Via  Carlo 
Alberto  (p.  136),  lies  the  *Piazza  de'  Mercanti  (PI.  E,  5),  the 
central  point  of  the  mediseval  city,  and  formerly  provided  with 
five  gates.  In  the  centre  of  the  Piazza  is  the  building  which 
was  formerly  the  Palazzo  della  Ragione,  a  large  hall  erected  in 
1228-33  by  the  podestk  (or  mayor)  Tresseno,  to  Mhom  an  eques- 
trian relief  was  placed  on  the  S.  side  with  the  inscription,  'qui 
solium  struxit,  Catharos  ut  debuit  uxit'  (the  Cathari  or  heretics  burn- 
ed by  him  were  the  Waldensians).  —  On  the  N.  side  of  the  piazza 
is  the  Palazzo  dei  Oiureconsulti,  with  an  old  tower,  erected  by  Vine, 
Seregni  (1564).  On  the  quaint-looking  S.  side  are  the  Gothic  Loggia 
degli  Osii,  erected  in  1316  in  black  and  white  marble  (restored  in 
1902-4),  and  the  Collegio  dei  NobiU,  also  by  Vine.  Seregni  (1564), — 
Through  the  Via  Cesare  Cantti  to  the  Bihlioteca  Ambroslana,  see  p,  151, 

The  Piazza  de'  Mercanti  is  adjoined  on  the  N.W.  by  the  new 
Piazza  Cordusio  (PI.  D,E,  5),  commonly  known  as  Piazza  Eliltica, 
from  its  elliptical  shape.  On  the  S.E.  side,  beside  the  Via  Oreflci, 
are  the  offices  of  the  Venetian  Socleth  delle  Assicurazioni  Generali, 
by  Luca  Beltrami ,  and  on  the  S.  side  rises  the  Exchange,  with 
a  fine  covered  court,  by  L.  Broggi  (1899-1901;  adm.  1-3  p.m.). 
Facing  the  Via  Dante,  on  the  N.W.  side  of  the  Piazza,  is  a  bronze 
statue  (by  Luigi  Secchi;  1899)  of  6ius.  Parini  (1729-99),  author  of 
the  satiric  poem  '11  Giorno', 

From  the  Piazza  Cordusio  a  new  series  of  streets  leads  in  a  direct 
line  to  the  Castello.  The  first  part  of  this  thoroughfare  is  the  wide 
and  handsome  Via  Dante  (PI.  D,  5, 4;  tramways  Nos,  3  &  4,  see 
p.  130),  which  is  continued,  beyond  the  Foro  Bonaparte,  by  the  Via 
Cairoli  (PI,  D,  4).  In  the  Foro  Bonaparte,  which  was  laid  out  under 
Napoleon  I.  on  the  site  of  the  castle-moat,  is  a  bronze  Equestrian 
Statue  of  Oaribaldi,  by  Ettore  Ximenes  (1896).  The  allegorical 
female  figures  on  the  pedestal  represent  Kevolution  and  Liberty. 


CasteUo  Sforzesco.  MILAN.  22.  Route.    147 

The  *Ca8tello  Sforzesco  (PI.  C,  3,  4),  the  castle  of  Milan,  a 
rectangular  building,  defended  by  four  corner-turrets  and  a  curtain 
wall,  was  originally  built  in  1368  as  the  CasteUo  di  Porta  Olovia 
by  Galeazzo  II.  Visconti  (1355-78),  adjoining  the  old  Porta  Giovia. 
It  was  destroyed  by  the  Ambrosian  Republic  (p.  132)  in  1447,  but 
was  rebuilt  and  enlarged  by  the  Sforza  after  1450  and  beautified  by 
Bramnnle,  Leonardo  da  Vinci,  and  other  masters.  Frequently  since 
the  French  invasion  (1499)  the  castle  has  been  the  focus  of 
straggles  for  the  possession  of  Lombardy.  Under  the  Austrian 
re'gime  it  was  converted  into  barracks.  Since  1893  it  has  been 
restored  in  the  15th  cent,  style  from  the  plans  of  Luca  Beltrami, 
and  it  now  contains  the  municipal  art-collections. 

In  the  centre  of  the  main  facade,  facing  the  Piazza  Castello, 
rises  the  Torre  Dmberto  Primo  (230  ft.  high) ,  a  tower-gateway 
erected  in  1901-5  in  imitation  of  the  early-Renaissance  tower  built 
by  Filarele  (p.  133)  and  destroyed  by  an  explosion  of  gunpowder 
In  1521.  The  two  round  towers  (102  ft.  high)  at  the  corners,  the 
Torrione  Santo  Spirito  on  the  left  and  the  Torrione  del  Carmini  on 
the  right,  were  restored  in  1894  and  1904  and  now  serve  as  reser- 
voirs for  drinking-water.  —  On  the  N.E.  side,  beside  the  Torre 
delle  Asse,  is  the  Ponticella  di  Lodovico  il  Moro,  a  bridge  over  the 
castle-moat  with  an  elegant  loggia;  it  was  reconstructed  by  Bra- 
mante  after  1490  and  restored  in  1903. 

The  main  entrance  (open  at  the  same  hours  as  the  museum) 
opens  on  the  Piazza  d'Armi,  the  large  anterior  court.  At  the  back 
of  this,  to  the  left,  is  the  Eocchetta,  erected  by  Francesco  Sforza 
on  the  foundations  of  the  Visconti  castle,  with  a  windowless  facade, 
a  new  curtain-wall,  and  the  square  Torre  di  Bona  di  Savoia  (1477; 
140  ft.  high);  to  the  right  is  the  Cokte  Ducale,  the  new  palace  of 
the  Sforzas,  with  Gothic  windows  (restored)  and  a  curtain-wall. 
The  passage  between  the  two  palaces  opens  on  the  Nuovo  Parco 
(p.  151). 

In  the  N.W.  angle  of  the  court  of  the  Coktb  Ducale  is  the  Log- 
getta,  a  graceful  Renaissance  structure,  erected  by  Ben.  Ferrini  in 
the  time  of  Galeazzo  Maria.  The  building  now  accommodates  the 
"Museo  Archeologico  ed  Artistico  (adm.,  see  p.  131 ;  no  catalogue). 

On  the  groundfloor  is  the  Museo  Aecheologico,  formerly  (1862- 
98)  in  the  Brera.  This  includes  prehistoric  articles  and  antiques 
discovered  in  Lombardy  and  medisval  and  modern  sculptures. 

I.  Room.  In  the  first  division  are  Egyptian  and  prehistoric  antiquities. 
In  the  seconil  division  are  Etruscan,  Greek,  and  Roman  antiquities.  In 
front,  four  antique  porphyry  columns;  among  the  sculptures  is  a  torso  of 
Venus  (t'dunil  at  Milan  in  1905),  recalling  the  Capiloline  Venus. 

II.  HooM.  Early  medippval  sculptures  (6-13th  cent.).  Entrance -wall: 
Fragments  of  frescoes  and  architectural  fragments  from  the  former  convent- 
church  of  Santa  Maria  d'Aurona  (some  still  in  the  Longobardic  style).  In 
front.  Case  with  articles  found  in  Longobanlic  graves  at  Fornovo  di  San 
Giovanni.  —  Left  vi'all :  Romanesque  architectonic  fragments  from  the 
churches  of  Sant'  Eustorgio  and  San  Celso  (12th  cent.).  —  E.xit-wall: 
Remains  from  the  cloisters  of  the  convent  of  Santa  Radegonda  (12th  cent.); 

10* 


148   Route  22. 


MILAN. 


b.  Castello  Sforzesco 


reliefs  from  the  Porta  Romana  (1171)  and  Porta  Tosa  (caricatures  of  Emp. 
Frederick  Barbarossa  and  the  Empress  Beatrice?). 

in.  Room  (Sala  di  Balducdo  da  Pisa),  with  traces  of  the  original  ceiling- 
paintings  (Resurrection  and  Saints),  by  Vine.  Foppa.  Lombardic  and  Pisan 
sculptures  and  works  by  the  Campionesi  (14th  cent.;  see  p.  184);  capitals 
and  sculptures  from  the  church  of  Santa  Jlaria  in  Brera,  by  Giov.  di  Bal- 
ducdo (1347);  statue  of  the  Madonna,  from  the  cathedral.  la  the  centre, 
large  "Monument  of  Bernabo  Visconti  (p.  127),  in  the  style  of  Bonino  da 
Campione ,  executed  during  Bernabo's  lifetime  (ca.  1370-80),  for  the  old 
church  of  San  Giovanni  in  Conca,  with  numerous  traces  of  gilding.  Un  the 
sarcophagus  are  reliefs  of  the  Evangelists ,  the  Crucifixion  and  a  Pieta, 
and  the  Coronation  of  Mary  ;  above,  the  eijuestrian  statue  of  Bernabo  and 
two  Virtues   (fortitude   and  J\istice).     By    the  exit-wall   is   the   monument 


Torre  dpi  Tesoro 


Ton-e  dePeAsse 


of  Regina  della  Scala,   wife   of  Bernabo,   and   the  portal  of  the  church  of 
San  Gottardo  (p.  136). 

IV.  PoKTicts  (Sala  Aperla).  On  the  right  wall,  monument  of  the  Rus- 
coni  family  of  Como  (c.  1400),  and  sculptures  from  the  Porta  Orientale 
(Porta  Venezia).  —  In  the  adjacent  Codet,  to  the  left,  baroque  portal  of 
the  time  of  Philip  III.,  surmounted  by  the  arms  of  the  Visconti  and  the 
Sforza;  opposite,  on  the  right,  marble  portal  from  the  Banco  Mediceo  del 
Portinari,  built  for  Cosimo  de'  Medici  by  Michelozzo  in  1457-70,  with  the 
arms  and  portraits  of  Francesco  Sforza  and  his  wife  Bianca  Maria  Visconti. 

V.  Room,  the  former  chapel  (Cappella  Ducale),  with,  the  sadly  damaged 
remains  of  ceiling-frescoes  (Resurrection,  Annunciation)  by  Ste/ano  d«'  Fedeli, 
Oiov  di  Montorfano,  ami  others  (1473).  Late-(5othic  sculptures  (ca.  1400-50), 
mostly  from  the  cathedral;  early -Renaissance  pulpit  from  San  Pietro  in 
Gessate,  assigned  to  Michelozzo.  The  cases  contain  objects  from  the  Castello 
and  new  acquisitions  (vessels,  glass,  weapons,  etc.).  —  Straight  on  is  the  — 

VII.  Room  (Sala  dei  Dncali),  with  a  ceiling  tastefully  decorated  with 
the  arms  and  initials  of  Galeazzo  Maria  Sforza  on  a  blue  ground.  Early- 
Renaissance  sculptures ,  showing  the  influence  of  Donatello  (ca.  1450) :  to 
the  right,  *Tabernacle  with  six  angels,  by  the  Master  of  San  Trovaso;  two 
angels,  and  a  relief  of  the  Tiburtine  Sibyl  announcing  the  Nativity  to 
Augustus  (or  of  Louis  the  Saint  on  a  Crusade),  by  Agostino  di  Duccio  (?),  from 
Rimini;  and  a  relief -bust  of  a  girl,  by  Franc,  di  Simone(0-  By  the  win- 
dow-wall, Caradosso,  marble  tabernacle,  with  St.  Sebastian  (studio-piece). 
—  To  the  right  is  the  — 

VI.  Room  (Sala  delle  Asse),  intended  for  memorials  of  the  Pforzas. 
The  line  ceiling  -  paintings  (restored  in  1901-2)  are  ascribed  to  Leonardo  da 


and  its  Collections.  MILAN.  22.  Rmte.   149 

Vinci  (1498).  The  ceiling  presents  the  appearance  of  a  hnge  arbour  ('per- 
golatd'),  among  the  dense  branches  of  which  are  golden  cords  (the  crest 
of  Lodovico  il  Moro)  and  tablets  with  inscriptions.  —  To  the  left  is  the  — 
vni.  Room  (Sala  delle  Colombine),  with  well-preserved  ceiling  and  wall 
decorations  on  a  red  ground.  (The  white  dove  in  an  aureole  is  the  crest 
of  Bona  di  Savoia;  beside  it  is  her  motto,  'a  bon  droit'.)  Sculptures  of 
the  best  Lombard  period  (c.  1500).  Entrance- wall ;  Giov.  Ant.  Amadeo, 
Adoration  of  the  Child,  a  relief  from  Cremona  (1482).  Exit-wall:  Medallion 
portrait  of  Lodovico  11  Moro;  half-length  of  a  woman  and  relief  of  the 
Madonna,  by  Tomm.  Rodari.  In  the  centre,  half-length  of  a  woman  ('La 
Mora'),  by  Amadeo  (1)\  Ecce  Hiimo,  by  Crista/.  Solari(0- 

IX.  Room  (Sala  degli  Scarlioni).  Sculptures  of  the  16-18th  centuries. 
In  the  first  division:  Andr.  Fttsina,  Tomb  of  Bishop  Batt.  Bagaroto  (1519); 
Bambaia.,  Portions  of  the  monument  of  Gaston  de  Foix  (p.  420),  ordered 
in  1515  by  Francis  I.  but  never  completed,  with  the  recumbent  *Statue 
of  the  hero,  and  casts  of  the  remaining  portions;  near  the  window,  Bam- 
baia, Monument  of  the  poet  Lancino  Curzio  (d.  1513).  —  In  the  second 
division :  'Bronze  Bust  of  Michael  Angelo,  by  one  of  his  pupils  (replica  in 
the  Louvre).     In  the  cases,  ornamental  locks,  keys,  etc. 

X.  Room.  Terracottas  of  the  12-16th  cent.,  from  Milan  and  Cremona, 
including  large  medallion  heads  from  the  former  Banco  Mediceo  (p.  148). 

The  staircase  at  the  end  of  R.  X,  affording  an  excellent  view 
of  the  elegant  Gothic  mndow  in  R.  IX  (to  the  right),  leads  to  the 
Loggetta  (p.  147),  on  the  first  floor  of  which  is  the  — 

*MusEo  Aetistico  Municipale.  This  collection,  founded  in  1874 
and  since  then  considerahly  extended,  originally  occupied  the  former 
Salone  in  the  Giardini  Puhblici. 

I.  Room  (Sala  delle  Ouardie;  Xo.  11  on  the  Plan).  The  first  division 
contains  a  valuatile  collection  of  'Majolica:  Milanese  fayence  (18th  cent.), 
including  imitations  of  Chinese  and  Japanese  porcelain;  fine  Italian  majo- 
lica of  the  IBth  cent.,  with  scmptuous  specimens  from  Urbino  (Case  3,  in 
the  middle),  Gubbio,  and  Deruta  (Case  4);  line  Persian  tiles  (window-wall 
to  the  right),  and  Hispano-MaureS'iue  majolica  (centre  of  the  left  wall). 
Then,  Chinese  and  European  porcelain,  including  examples  from  Capodi- 
monte  and  Ginori.  —  Second  division:  in  the  central  cabinets  are  ivory 
carvings  (in  Cab.  8,  Roman,  early-Christian,  and  medireval),  niello  works, 
Limoges  enamels,  glass  (goblet  of  the  Sforzas;  Itith  cent.);  on  the  walls 
are  lace,  costly  textiles,  oriental  and  other  costumes,  stained  glass,  etc.  — 
From  the  first  division  we  enter  the  — 

U.  Room  (Prima  Sala  Ducale;  PI.  12).  To  the  left,  Italian  iron-work 
and  bronzes  (16-18th  cent.),  including  several  elef^ant  caskets  and  a  bust 
of  Costanza  Buonarelli,  by  Xor.  Bernini.  By  the  first  window.  Ecclesiastical 
jewellery  (14- 16th  cent.).  By  the  exit,  Japanese  bronzes  and  armour.  On 
the  walls  is  Flemish  tapestry  (17th  cent.). 

III.  Room  (Seconda  Sala  Ducale ;  PI.  13).  Italian  furniture  (16-17th  cent.), 
including  several  bridal  chests;  collection  of  frames  (15-17th  cent.);  early 
Flemish  tapestry  (15th  cent.),  with  the  Raising  of  Lazarus.  —  IV.  Room 
(Terza  Sala  Ducale;  PI.  14).    Furniture  and  frames  of  the  17- 18th  centuries. 

V.  Room  (Sala  della  Torre;   PI.  15).     Ethnographical  collections. 

VI.  Room  (Sala  di  Milano ;  PI.  IG).  Objects  of  interest  connected  with 
Milan;  ancient  views  of  the  city,  cathedral,  and  castello;  large  banner  of 
St.  Arabrosius,  carried  in  municipal  processions ;  coins  and  medals  ;  original 
of  the  treaty  made  between  Milan  and  Louis  XII.  in  1502;  fourteen  medallion 
portraits  of  the  Sforzas  and  F^mp.  Maximilian  I.,  by  Bern.  Luini  (ca.  1530). 

VII.  *  Vin.  Rooms  (Sale  della  Pinacoteca;  PI.  17,  18):  '^Pinacoteca,  or 
gallery  of  old  masters.  In  Room  VII.  To  the  left,  Vine.  Foppa.,  Martyr- 
dom of  St.  Sebastian;  Moretto,  St.  Ursula,  John  the  Baptist,  the  Prophet 
Jeremiah. 

VIII.  Room.  To  the  right,  27.  Cariani,  Lot  and  his  daughters;  28. 
Bern.  Licinio,  Double  portrait;  32.  Lor.  Lotto,  Portrait  of  a  youth;  58.  Por- 


150   Route  22.  MILAN.  6.  Castello  Sforzesco. 

denone,  Portrait  of  a  gentleman,  with  a  lap-dog ;  59.  Jac.  Sassano,  Portrait 
of  a  genenl;  64.  Tintoretto,  Doge  Jac.  Soranzo;  65.  O.  B.  Moroni,  Portrait; 
78.  Q.B.  Tiepolo,  Communion  of  St.  Lucia;  81  Fr.  Ouardi,  Sea-piece  with 
ruins;  no  number,  O.  B.  Moroni,  Death  of  St.  Peter  Martyr;  130.  Greuze, 
Girl's  head;  106.  P.  Potter,  Swine  (1649);  145.  Van  Dyck,  Henrietta  Maria, 
wife  of  Charles  I.  of  England  (school-piece  V).  —  178.  C.  F.  Nuvoloni,  Ma- 
donna. —  Fra  Vittore  Ohistandi  (p.  'il2),  202.  Portrait  of  himself,  203. 
Portrait  of  a  monk;  2'i8.  Al.  Magnasco,  Market-scene;  '249.  Ant.  da  Mes- 
sina. Portrait  of  a  man  in  a  laurel  wreath;  '253.  Correggio,  Holy  Family, 
the  so-called  Mailonna  Bolognini,  an  early  work  in  the  master's  Ferrarefe 
style;  BoUraffio,  280.  Madonna,  279,  281.  Altar -wings  with  saints  and  donors; 
'283.  Sodoma,  Archangel  Michael;  306.  Gianpietrino,  St.  Mary  Magdalen; 
no  number,  Borgognone,  St.  Jerome;  505.  V.  Foppa,  Madonna.  —  In  the 
centre,  choir-books  (14-16th  cent.),  drawing.':^  etc.  —  On  the  right  side-wall 
are  Milanese  frescoes  (15th  cent.)  from  the  demolished  churches  of  Santa 
Chiara  and  Santa  Maria  del  Giardino.  —  From  the  small  exit-door  at  the 
end  of  this  room  we  may  proceed  by  the  curtain-wall  and  a  flight  of  steps 
to  a  side-entrance  to  the  Modern  Gallery  (see  below). 

The  RoccHETTA  has  lost  almost  the  whole  of  its  artistic  decor- 
ation. The  Epigraphical  Section  of  the  Archaeological  Museum  is 
arranged  under  the  arcades  of  the  court  (catalogue  by  Em.  Selettij. 
The  rooms  on  the  S.W.  side  of  the  groundfloor  contain  the  collec- 
tions of  the  Socielh  Numism'itica  Ilaliana  (coins)  and  the  archives 
of  the  Societh  Storica  Lomharda.  The  three  large  rooms  on  the  N.W. 
side  of  the  groundfloor,  and  the  first  and  second  floors  are  occupied 
by  the  Galleria  d'Arte  Moderna  (adm.  see  p.  131),  which  was 
founded  in  1903.  The  first  floor  also  contains  the  Museo  del  Risor- 
gimento  Nazionale  (adm.,  seep.  131),  with  a  collection  of  patriotic 
objects  from  the  time  of  the  Cisalpine  Republic  down  to  the 
present  day. 

The  Galleria  d' Arte  Moderna  includes  a  collection  of  sculpture 
and  paintings  of  the  19th  cent.,  chiefly  by  artists  of  Lombardy,  and 
the  municipal  collection  of  coins  and  medals.     Guide  (1903),  60  c. 

Grodndflooe.  —  I.  Room  ( Sala  del  Consiglio).  Sculptures,  including 
numerous  statues  and  busts  of  famous  men  [Ang.  Pizzi,  Napoleon  I. ;  Od. 
TahaccH,  Arnold  of  Brescia);  also,  C.  Pandiani,  Camilla;  Canova,  Benevo- 
lence. —  II.  Room  (Sala  delle  Scoltiire).  Among  the  reliefs:  Pompeo  Mar- 
chesi,  Socrates  and  Aleibiades;  Fieiro  Tenerani,  Christian  martyrs  in  the 
Colosseum;  Ach.  Alberti,  Socrates  as  an  orator.  —  III.  Room  (Hala  del  Te- 
toro),  with  the  remnants  of  a  fresco  of  Mercury  or  Argus,  by  Bramanfe  (?): 
sculptures;  cartoons  by  Andr.  Appiani;  coins  and  'Medals.  —  The  stair- 
case beside  the  exit  leads  to  the  — 

First  Floor,  the  principal  saloon  on  which,  formerly  the  Sala  della 
Bralla  (159  ft.  long  and  59  ft.  broad),  has  been  divided  into  two  rooms 
(IV,  V)  IV.  Room  (gallery).  Pictures  of  the  beginning  of  the  19th  cent, 
by  A.  Appiani,  M.  Enoller,  Mauro  Conconi,  and  others.  Sculptures:  Canova, 
Hebe  (model);  Vine.  Vela,  Spring.  —  V.  Roo.m  (left).  Si.'c  tapestries  from 
Mantua,  perhaps  from  designs  by  pupils  of  Raphael.  On  the  entrance- 
wall  :  Prud^hoii,  Portrait ;  2nd  division  :  Girol.  Indnno,  Interior  ('la  Giari- 
baldina);  3rd  division:  Fr.  Hayez,  Portraits  ofManzoni,  Rossini,  and  Ca- 
voar;  opposite,  by  the  window:  Hayez,  Despair,  Ihe  kiss;  4th  division: 
Ub.  deir  Urto,  Mountain  -  pasture ;  rear -wall:  Girol.  Induno,  Victor  Em- 
manuel II.  Sculptures:  by  the  second  window,  Thorvaldsen ,  Count  Som- 
mariva  ;  Careoi'rt,  Vestal  virfiin;  in  the  centre,  Giov.  Strazza,  Ishmael  in  the 
desert;  Franc.  Barzaghi,  Phryno;  by  the  last  window,  Enr.  Butti,  Miner. 
—  VI.  Room  (gallery).  Window-wall:  Ang.  dalV  Oca  Bianca,  Ave  Maria; 
Gaet.  Chirici,  The  masquerader;    Andr.  Achenhach,   Sea-piece;    W.  TrUbner, 


b.  Arco  della  Pace.  MILAN.  22.  Route.   151 

Transitoriness;    Th.  Couioure,  The  lunatic;    A.  Acheiibacli,   Sunset  at  Porto 
Vunorc.  —  We  ascend  to  the  — 

Second  Flock.  —  VII.  Room.  Water-colours  by  ilos^  Bianchi  and 
others;  miniature  copies.  —  VIII.  Eoom.  Designs  by  Gius.  Maffgiolini,  the 
wood-carver.  —  IX.  Room.  Paintings  by  Don.  Morelli,  Girol.  Indimo,  Fil. 
/Wi^zj,  and  others;  engravinjjs  h'j  Mariano  For  tuny. — X.  Room.  Municipal 
archives;  cartographical  division;  Raccnlta  Vinciana  (literature  relating  to 
Leonardo  da  Vinci),  founded  in  1905.  —  XI.  Room.  Ancient  views  of  Milan. 
—  From  Room  VII  we  turn  to  the  left  into  Room  XII.  (gallery).  Window- 
wall :  Qiac.  Favrelto,  The  picture-restorer  (Vandalismo),  The  mouse;  Fil. 
Carcano,  Workers  on  the  Exhibition  liuildings  after  work-hours,  Interior 
of  the  ch'irch  of  San  Celso  in  Milan;  Dotn.  Morelli,  The  masquerade; 
Am.  Cagnoni,  Portrait;  Mosi  Bianchi,  Eve  of  the  church  festival,  Stormy 
passage  on  the  lagouns,  Harbour  uf  Chi^ggia,  Washerwomen,  etc.;  Leon. 
Bazzaro.,  Nun  taking  the  veil.  Also,  Cartoons  by  Appiani  and  others;  near 
the  exit,  P.  Troubeizkoy,  Equestrian  statue  (if  Tolstoi.  —  XIII.  Room  (upper 
gallery  of  the  Sala  delia  Balla).  Pictures  by  Gnis.  Zcinctti,  Girol.  Induno, 
and  others;  sculptures  by  Inn.  Fracearoli  and  .466.  Sangiorgio. 

The  open  space  at  the  hack  of  the  Castello,  originally  the  plea- 
sance  of  the  Visconti  and  Sforza,  was  converted  in  1893-97  into 
the  still  somewhat  shadeless  Nuovo  Parco  (PI.  B,  C,  2-4).  In  the  N. 
part  of  the  grounds  are  a  number  of  buildings  lor  the  Exhibition 
of  1^06  and  the  Arena  (PI.  C,  2),  an  amphitheatre  built  in  1805 
for  races,  etc.,  recently  used  also  as  a  skating-rink.  Ilard  by  are  the 
Torre  Stigler,  an  iron  belvedere,  erected  for  the  Exhibition  of  1894 
and  commanding  an  extensive  *Panorama  of  Milan,  the  plains  of 
Lombardy,  and  the  Alps  (adm.  25  c. ;  ascent  only  on  Sun.  in  clear 
weather,  in  summer  in  the  evenings  also),  and  the  Montagnola,  a 
low  hill  with  a  cafe-restaurant. 

The  N.  W.  side  of  the  park  is  bounded  by  the  Porta  del  Sempione 
(tramway  No.  3,  see  p.  130),  the  name  of  which  refers  to  the  con- 
struction of  theSimplon  road  (p.  3),  and  the  Arco  della  Pace  (PI.  B, 2), 
a  triumphal  arch  of  white  marble,  begun  by  L.  Cagnola  for  the  Foro 
Bonaparte  (p.  146)  in  1806  and  completed  under  the  Austrians  in 
1838.  Most  of  its  sculptures  are  by  Pompeo  Jl/arc/jesi.  The  remainder 
of  the  Buildinys  for  the  Exhihilion  of  19U6  are  situated  in  the  Piazza 
d'Armi,  at  the  W.  end  of  the  Via  Abbondio  Sangiorgio  (PI.  B,  A,  2; 
tramway  from  the  Nuovo  Parco). 

To  the  S.W.  of  the  Castello  lies  the  Stazione  FerrovieNord  (PI.  B, 
C,  4;  p.  128),  passing  which  and  following  the  Via  Boccaccio  and 
the  Via  Caradosso  (PI.  B,  6),  we  reach  the  church  of  Santa  Maria  delle 
Grazie  and  Leon,  da  Vinci's  Last  Supper  (p.  154). 

c.  West  Quarters  of  the  City.  Biblioteca  Ambrosiana.  Santa 
Maria  delle  Grazie.  Sant'  Ambrogio. 
From  the  S.W.  corner  of  the  Piazza  de'  Mercanti  (p.  146)  the  Via 
Oesare  CanttJ  leads  to  the  Piazza  della  Kosa.  At  No.  2  in  the  latter,  the 
building  erected  for  it  in  1603-9  by  Fabio  Manyone,  is  the  celebrated 
*Biblioteca  Ambrosiana  (PI.  D,  E,  5),  whi(;h  contains  175,000  vols, 
of  printed  books  and  8400  MSS.,  and  also  a  valuable  collection  of 
pictures  (adm.,  see  p.  131;  entrance  from  the  reading-room,  to  the 


152   Route  ■22.  MILAN.  c.  West^Quarters : 

right,  in  the  court).  The  director  of  the  library  is  Cav.  Sacerdote 
Ceriani^  the  Orientalist. 

In  the  Biblioteca,  which  is  on  the  groundfloor,  many  of  the  most  in- 
teresting 5ISS.  are  exhibited  to  the  public.  Among  the  chief  treasures  are 
fragments  of  an  illuminated  MS.  of  Homer,  of  the  end  of  the  4th  cent. ; 
a  copy  of  Virgil,  with  marginalia  by  Petrarch;  a  palimpsest  of  the  5th 
cent,  with  Ihe  Pauline  epistles  and  other  parts  of  Ulflla's  Gothic  trans- 
lation of  the  Bible,  along  with  a  fragment  of  a  Gothic  calendar  (from 
Bobbio ,  p.  361) ;  Dante's  Divine  Comedy,  a  MS.  of  the  first  half  of  the 
14th  cent.;  the  celebrated 'Codex  Atlanticus,  being  a  collection  of  original 
drawings  and  MSS.  of  Leonardo  da  Vinci;  a  number  of  miniatures;  letters 
of  Lucretia  Borgia,  San  Carlo  Borromeo,  Ariosto,  Tasso,  Galileo,  Liguori, 
etc.  —  The  side-rooms  contain  a  few  sculptures  in  marble:  parts  of  the 
tomb  of  Gaston  de  Foix  (p.  149);  Cupid  in  marble,  by  R.  Schadow;  bust  of 
Byron  and  several  reliefs  by  Thorvaldxen.  Also  a  Boman  mosaic  and  a 
fresco  of  Christ  crowned  with  thorns  by  Bern.  Luini  (1521). 

On  the  First  Floor  is  the  "Pinacoteca,  which  has  been  rearranged 
since  1904.  I.  Koom  (Cabinet  of  Bronzes).  Busts  of  Canova  and  Thor- 
valdsen,  the  latter  by  the  master  himself.  Pictures:  46.  Raphael  Mengs, 
Pope  Clement  XIII.;  Marco  Basaiti,  Risen  Christ;  24.  Bart.  Veneto  (not 
Lorenzo  Lotto),  Madonna  (injured).  —  We  ascend  a  short  staircase  and 
turn  to  the  right  into  II.  and  III.  Rooms:  Engravings.  —  IV.  Room.  Paint- 
ings: 52.  Savoldo,  Transfiguration  (copy;  original  in  the  Palazzo  degli 
Uffizi,  p.  489);  Borgognone,  '•'54.  Madonna  enthroned,  with  saints  and  sing- 
ing angels;  (1485),  no  number,  Wings  of  an  altar  with  SS.  Christopher  and 
Peter  Martyr,  Francis,  and  Klizabelh  ;  57.  Moretto,  Death  of  St.  Peter  Martyr; 
*72.  S.  Botticelli,  Madonna  and  angels;  70.  Baroccio,  Nativity;  96.  Cariani, 
Bearing  of  the  Cross.  —  To  the  right  is  Room  V:  "312.  Giov.  Batt.  Moroni, 
Portrait  (1554);  no  number,  Rottenhammer,  Choir  of  angels;  also  landscapes 
and  still-life  pieces  by  J.  Brueghel  and  others.  — VI.  Room:  Paintings  of 
no  importance.  —  We  return  through  the  IV.  Room  to  the  VII.  Room. 
Pictures:  260,  261.  Boltraffio,  Large  portrait- heads  of  a  man  and  a  woman, 
in  chalk;  262.  O.  Ferrari,  Marriage  of  the  Virgin;  Bramantino,  272.  Ma- 
donna with  SS.  Michael  and  Ambrose,  273.  Adoration  of  the  Holy  Child 
(an  early  work);  274.  Marco  d'' Oggiono  and  277.  Gianpieirino ,  Madonnas; 
279.  Boltraffio,  Portrait;  B.  Luini,  281.  Holy  Family  (after  Leon,  da  Vinci's 
cartoon  in  London),  283.  Youthful  Christ  in  an  attitude  of  benediction, 
284.  John  the  Baptist  as  a  child ;  *282.  Leonardo  da  Vinci  (?),  Portrait 
(unfinished;  perhaps  Roberto  Sanseverino?);  *285.  Leonardo  da  Vinci  (at- 
tributed by  Morelli  to  Amhrogio  de  Predis),  Portrait  of  a  young  lady  (perhaps 
Madonna  Bianca,  daughter  of  Lodovico  il  Moro  and  wife  of  Roberto  Sanse- 
verino); 236,  233.  Titian  (copies),  Adoration  of  the  Magi,  Deposition  in 
the  Tomb  (originals  in  the  Prado  at  Madrid) ;  ''231.  Bonifazio  I.,  Holy 
Family,  with  Tobias  and  the  angel  (restored);  230.  Jac.  Bassano,  Adoration 
of  the  Shepherds.  Also,  Drawings  of  the  School  of  Leon,  da  Vinci,  and  a  few 
specimens  from  his  own  hand,  including  some  caricatures.  '■" RaphaeV i 
Cartoon  of  the  'School  of  Athens',  which  should  be  carefully  studied. 
The  dilapidated  condition  of  the  fresco  in  the  Vatican  makes  this  cartoon 
of  great  interest  and  value,  since  here  only  we  gain  the  full  key  to  the 
artistic  motives  of  the  painter.  The  deviations  of  the  fresco  from  the 
cartoon,  with  the  exception  of  the  additions  of  the  sitting  figure  at  the 
foot  of  the  staircase,  the  temple-colonnade,  and  the  portrait  of  Raphael 
himself,  are  unimportant.  —  VIII.  Room:  Drawings  of  the  Lombard 
School,  including  some  by  Leon,  da  Vinci  (the  portrait  of  himself  is  a 
forgery,  comp.  p.  31) ;  also  several  by  DUrer. 

At  the  back  of  the  library  is  the  Romanesque  church  of  Santo 
Sepolcro  [PL  D,  5),  dating  from  the  11th  century,  with  a  picture 
by  Olanpietrlno  (Madonna  and  angels)  in  the  sacristy.  The  Via  del 
Bollo  leads  hence  to  the  W.  to  the  Piazza  San  Borromeo,  which 
contains  a  statue  of  San  Carlo  Borromeo  and  also  the  former  — 


San  Maurkio.  MILAN.  2i>.  Route.    153 

Palazzo  Borromeo  (No.  7;  PI.  D,  5).  In  the  late -Gothic  side- 
court  of  the  palace  are  three  fresioes,  historically  interesting  for 
their  subjects  [card-players,  players  at  ball,  and  a  rustic  dance); 
they  are  ascribed  to  Michelino  da  Bedozzo  (ca.  1430).  On  the  first 
story  is  a  *Picture  Gallery  (Pinacoteca)  containing  some  important 
paintings  and  a  few  sculptures,  chiefly  of  the  Lombard  School 
(adm.,  see  p.  131 ;  no  catalogue;  lists  of  the  pictures  provided). 

1.  KooM.  Madonna  with  John  the  Baptist  and  St.  Sebastian,  an  alto- 
relief  by  Marco  da  San  Michele  (1525).  Copies  of  ancient  paintings  (56. 
Cavalry  engagement,  hy  Ercolede'  Roberti),  etc.  —  II.  Room.  Lombard  School, 
Madonna  with  the  donor  (King  Francis  I.?),  alto-relief  of  the  16th  cent.; 
Desiderio  da  Settignano  (?),  Bust  of  a  girl;  155.  Giov.Ant.  BoUraffio,  Head  of 
the  Virgin  (fragment  of  a  fresco) ;  209,  214.  Ziiccarelli,  Pastel  portraits  of 
girls.  This  room  also  contains  some  beautiful  miniatures  upon  copper.  — 
III.  Room.  Paintings  of  the  German  and  Netherlandish  schools,  drawings, 
autographs,  etc.  —  IV.  Room,  containing  the  chief  works  of  the  collection. 
4.  Marco  d'  Oggiono  (?),  The  Archangel  Michael ;  Gianpietrino,  6.  St.  Catha- 
rine, 9.  Fertility;  Gaud.  Ferrari,  10.  St.  Sebastian,  12.  Madonna  with  SS. 
Joseph  and  Anthony  Abbas;  13.  School  of  Mantegna,  Bearinjj  of  the  Cross; 
Gaud.  Ferrari,  14.  St.  Rdchus,  16.  Two  Amoretti;  '68.  Bern.  Luini,  Susanna 
(half-length);  69.  Fil.  Mazzola,  Portrait  (1468);  34.  Luini,  Holy  Family; 
35.  Bern.  Zenale  (not  Borgognone),  Portrait  of  Andrea  de'  Novelli,  Bishop 
of  Alba;  36.  Pinturicchio,  Bearing  of  the  Cross  (1513);  37.  Cesare  da  Sesto, 
Adoration  of  the  Magi  (early  work);  43.  Lorenzo  Lotto,  Crucifl-xion;  40.  Bart. 
Veneto,  St.  Catharine;  Borgognone,  Hi.  Madonna  enthroned,  45.  Madonna 
by  a  rose-hedge;  Luini,  "44.  Madonna  and  saints,  47.  Daughter  of  Herodias 
with  the  head  of  John  the  Baptist;  Borgognone,  48.  Christ  blessing,  49. 
Madonna;  50,  52.  Vine.  Foppa  (nut  Borgognone),  Annunciation;  51.  Lombard 
School  (not  Leon,  da  Vinci),  Madonna;  '72.  BoUraffio,  Madonna;  Bernardino 
de"  Conti,  56.  Portrait  of  Camillo  Trivulzio  (d.  1525),  58.  Madonna. 

A  little  to  the  N.W.,  at  No.  4  Via  Gorani  (PL  D,  6),  is  the  Casa 
liazzero,  with  the  tower  of  an  ancient  patrician  castle  (13th  cent.), 
which  is  visible  also  from  the  court  of  No.  2  Via  I'.risa.  —  The  Via 
Santa  Maria  alia  Porta  leads  farther  to  the  N.W.  to  the  Corso  Magenta 
(tramway  to  the  Porta  Magenta,  see  p.  130),  in  which,  to  the  right, 
is  the  Palazzo  Litta  (PI.  C,  5),  with  an  imposing  rococo  facade  and 
a  handsome  staircase  and  court,  now  occupied  by  the  offices  of  the 
State  Hallways  (p.  xvi).    On  the  left,  rises  the  small  church  of  — 

San  Maurizio,  or  Chiesa  del  Monastero  Maggiore  (PI.  C,  5), 
erected  in  1503-19  by  Giov.  Uolcehuono,  a  pupil  of  Bramante. 

The  Interiou  contains  numerous  frescoes.  Last  chapel  but  one  on  the 
right:  'Scourging  of  Christ  and  scenes  from  the  martyrdom  of  St.  Catharine, 
painted  by  Luini  about  1525.  The  'Frescoes  beside  the  high-altar  are  by 
Luini:  above,  in  the  centre,  the  Assumption  of  the  Virgin;  below,  to  the 
left,  SS.  Cecilia  and  Ursula  at  the  sides  of  the  tabernacle,  with  a  beauti- 
ful figure  of  an  angel.  In  the  lunette  above  is  a  kneeling  figure  of  the 
donor,  Alessandrcj  Bentivoglio  (d.  1532;  e.xpelled  from  Bologna  and  buried 
here),  with  SS.  Benedict,  John  the  Baptist,  and  John  the  Evangelist.  Above, 
martyrdom  of  St.  Maurice.  Below,  to  the  right,  SS.  ApoUonia  and  Lucia  at 
the  sides  of  the  tabernacle,  with  the  risen  Christ;  in  the  lunette,  Ippolita 
Sforza,  wife  of  Bentivoglio,  with  SS.  Scholastica,  A(;ne3,  and  Catharine. 
Above,  King  Sigismund  presents  a  model  of  the  church  to  St.  Maurice. 
The  frescoes  in  the  chapels  at  the  sides  of  the  entrance-door  are  by 
Aurelio  Luini  and  his  pupils.  —  Behind  the  high -altar  lies  the  Kdns' 
Choir,  of  the  same  size  as  the  church  itself.  At  the  high-altar  is  a 
series  of  9  Frescoes  of  the  Passion;  below,  the  lifesize  figures  of  SS. 
Apollonia,  Lucia,  Catharine,  .\gatha,  Seba.stian,  and  Kochus,  all  by  Luini. 


154   Route  22.  MILAN.  c.  West  Quarters  : 

Between  the  arches  on  the  side-walls  are  20  medallions  of  saints,  by  Bor- 
gognone.  In  the  arches  of  the  gallery  above  are  26  medallions  of  holy 
women,  by  Boltraffio. 

Farther  on  in  the  Corso  Magenta,  on  the  right,  is  situated  the 
church  of  *Santa  Maria  delle  Grazie  (PI.  B,  5),  an  ahhey-church  of 
the  15th  century.  The  choir,  with  its  elahorate  external  decoration 
in  terracotta,  the  transept,  and  the  line  dome  were  designed  by 
Bramante  (1492-97). 

Right  Aisle.  In  the  2nd  chapel,  John  the  Baptist,  an  altar-piece  by 
Oiul.  Bugiardini.  4th  chapel,  fre.scoes  by  Gaudenzio  Fei-rari^  the  Crucifixion, 
Christ  crowned  with  thorns,  Christ  scourged  (1542),  angels  with  the  in- 
struments of  the  Passion  (on  the  vaulting).  —  In  the  Choir  are  good  stalls 
of  the  Renaissance.  —  Left  Aisle.  The  gorgeous  Cappella  del  Rosario, 
with  a  defaced  fresco  (Adoration  of  the  Cliildj  by  Vine.  Foppa,  contains 
the  mural  tablet  of  Branda  Castiglione  (d.  1495).  by  Giov.  Ant.  Amadeo,  and 
the  family-tomb  of  the  Delia  Torre  (p.  127),  by  Tomm.  and  Franc,  da  Cazzaniga 
(1483;  restored). 

The  Monastery,  long  used  as  a  barrack,  the  small  central 
cloistiTS  of  which  are  by  Bramante.,  is  now  being  restored  by  Laica 
Beltrami.  The  iirst  walk  of  the  cloisters,  to  the  left  of  the  choir  of 
the  church,  is  adjoined  on  the  N.  by  the  Sacristy,  which  contains  an 
altar-piece  by  Andr.  Appiani,  a  pupil  of  Marco  d'Oggiono  (John  the 
Baptist  and  donor).  To  the  right  and  left  are  relief-portraits  of  Lodo- 
vico  il  Moro  and  his  son  Massimiliano,  from  Bambaia's  studio.  The- 
Renaissance  cabinets  are  adorned  with  charming  paintings  on  wood. 

A  door  marked  'Cenacolo  Vinciano',  to  the  W.  of  the  church, 
is  the  entrance  to  the  former  refectory,  containing  the  celebrated 
**Last  Sapper  of  Leonardo  da  Vinci  (adm.;  see  p.  131).  The 
picture  is  unfortunately  in  bad  preservation,  chiefly  from  having 
been  painted  on  the  wall  in  oils  (before  1499).  In  the  same  room 
are  also  exhibited  numerous  photographs,  including  those  of  the 
drawings  at  Strassburg  and  Weimar  erroneously  attributed  to  Leo- 
nardo, and  contemporaneous  copies  of  the  great  fresco,  by  Andrea 
Solario^  Cesare  del  Magno,  Marco  d'  Oggiono.,  Ant.  de  Olaxiate^  and 
Lomazzo.  The  study  of  the  original  is  much  facilitated  by  an  in- 
spection of  these,  though  they  are  all  inferior  to  the  copy  at  Ponte 
Capriasca  (p.  14).  —  The  large  fresco  by  Giov.  Donate  Montorfano 
(Crucifixion)  of  1495,  opposite  the  Last  Supper,  is  in  much  better 
condition.  The  kneeling  figures  of  Duke  Lodovico  il  Moro  (p.  127) 
and  his  wife  Bianca  Maria  with  their  children  are  by  Leon,  da  Vinci., 
the  trace  of  whose  hand  is  still  distinguishable. 

Deplorable  as  is  the  condition  of  the  Last  Supper,  the  chief  work 
executed  by  Leonardo  during  his  stay  at  Milan,  the  original  alone  ex- 
hibits to  its  full  extent  the  emotions  which  the  master  intended  to  ex- 
press, and  which  even  the  best  copies  fail  to  reproduce.  The  motive  of 
the  work  has  been  well  explained  by  Ooethe :  'The  artist  represents  the 
peaceful  little  band  round  the  sacred  table  as  thunder-struck  by  the  Master's 
words,  One  of  you  shall  betray  me.  They  Lave  been  pronounced;  the  whole 
company  is  in  dismay,  while  he  himself  bows  his  head  with  downcast 
eyes.  His  whole  attitude,  the  motion  of  his  arms  and  hands,  all  seem  to 
repeat  with  heavenly  resignation,  and  his  silence  to  confirm,  the  mournful 
words  —  'It  cannot  be  otherwise.  One  of  you  shall  betray  me!'  Comp. 
also  p.  liv. 


SanV  Amhrogio.  MILAN.  22.  Route.    155 

The  Via  Caradosso  and  the  Via  Boccaccio  lead  hence  to  the 
Castello  (p.  147).  —  In  the  Piazzale  Michelangelo  Buonarotti,  beyond 
the  former  Porta  Magenta  (PI.  A,  6),  is  the  Ca.sa  di  Kiposo  pei  Musi- 
cisti,  a  home  of  rest  for  musicians,  established  in  1899  by  Verdi 
(d.  1901),  who  is  buried  here.  It  contains  aho  a  Verdi  Museum  and 
a  large  concert-hall,  containing  pictures  by  Dom.  Morelli,  Fil.  Pa- 
lizzi,  and  others;  a'lm.  daily  except  Thuvs.  2-5  p.m.,  50  c. 

From  Santa  Maria  delle  Grazie  the  Via  Bernardo  Zenale  and  the 
Via  San  Vittore  lead  to  the  S.E.  to  the  church  of  Sa»i  Vittore  (Pi.  B,6), 
a  baroque  building  by  Galeazzo  Alessi  (1560),  interesting  for  its 
elaborate  internal  decoration.  A  little  farther  on  we  pass  the  S.  end 
of  the  Via  San  Gerolamo,  part  of  the  ancient  route  round  the  ram- 
parts, in  which  rises  the  Palazzo  Gonzaya  (No.  30),  immediately 
to  the  left,  built  in  1900  in  the  Lombard  style  by  Cecilio  Arpesani. 
At  the  end  of  the  Via  San  Vittore  is  the  large  Piazza  Sant' Amukogio 
(PI.  C,  6,  6;  tramway  No.  5,  p.  130),  with  the  church  of  — 

*Sant'  Ambrogio  (PL  0,  b),  founded  by  St.  Ambrose  in  the  4th 
century.  The  present  edifice,  a  Romanesque  basilica,  with  peculiar 
galleries  and  an  octagonal  cupola  over  the  high-altar,  was  practically 
rebuilt  in  the  12th  cent.,  or  according  to  others,  by  Archbp.  Anspert 
in  the  9th  century.  It  was  modernized  in  the  17th  ceit.  by  Franc. 
Richino,  but  about  1860  (by  F.  Schmidt  of  Vienna)  and  more  recently 
(by  Gael.  Landriani)  it  was  restored  in  keeping  with  the  original 
style.  The  line  atrium  (restored  by  llichino),  containing  remains 
of  ancient  tombstones,  inscriptions,  and  frescoes,  seems,  like  the 
facade,  to  have  preserved  the  architectural  forms  of  the  original 
building.  The  wooden  door  of  the  church,  with  reliefs  from  the  life 
of  David  (partly  restored  in  1750),  dates  from  the  time  of  the  saint. 
St.  Ambrosius  baptized  St.  Augustine  here  in  387,  and  in  389  he 
closed  the  doors  of  this  church  against  the  Emp.  Theodosius  after 
the  cruel  massacre  of  Thessalonica.  The  Lombard  kings  and  German 
emperors  formerly  caused  themselves  to  be  crowned  here  with  the 
iron  crown,  which  since  the  time  of  Frederick  Barbarossa  has  been 
preserved  at  Monza  (p,  165).  The  ancient  pillar  at  which  they  took 
the  coronation-oath  before  being  crowned  is  still  preserved  under 
the  lime-trees  in  the  piazza. 

Interior.  To  the  right,  in  the  nave,  is  a  marble  statue  of  Pius  IX.,  by 
Franc.  Confalonieri  (188u).  —  In  the  Ist  chapel  of  the  left  aisle,  a  Kisen 
Christ,  fresco  by  Borgognone.  —  On  the  right  and  left  of  the  side-entrance 
in  the  right  aisle:  frescoes  by  Gaudenzio  Ferrari,  representing  the  Bearing 
of  the  Cross,  the  three  Maries,  and  the  Descent  from  the  Cross.  2nd 
Chapel  on  the  right:  a  fine  kneeling  statue  of  St.  Blarcellina,  by  Pacetti 
(1812).  5th  Chapel  on  the  right :  Legend  of  St.  George,  frescoes  by  Ber- 
nardino Lanini.  —  The  second  door  to  the  left  in  the  large  6th  chapel 
leads  to  the  Cappella  di  San  Satiro,  with  mosaics  possibly  of  the  5th  cent, 
(restored)  in  the  dome.  In  the  dark  chapel  to  the  right  of  the  choir  is  an 
altar-piece  by  B.  Ltiini,  Madonna  and  saints.  —  The  "High  Altar,  apparently 
restored  about  12tX>,  still  retains  its  original  decoration  of  the  first  half  of 
the  9th  cent.,  the  only  intact  example  of  ita  period.  This  consists  of 
reliefs  on  silver  and  gold  ground  (in  front),  enriched  with  enamel  and  gems, 
executed  by  Vol/vinus,  a  German  (covered,  shown  only  on  payment  of  5  fr.). 


156   Route  22.  MILAN.  d.  Southern 

The  12th  cent,  canopy  over  the  high-altar,  which  is  adorned  with  interest- 
ing reliefs,  recently  regilded,  is  borne  by  four  columns  of  porphyry  from 
the  original  altar.  The  apse  contains  an  ancient  episcopal  throne.  In  the 
Tribuna  are  mosaics  of  the  9th  cent. :  Christ  in  the  centre,  at  the  sides 
the  history  of  St.  Ambrose.  —  To  the  left  of  the  choir  is  the  tombstone 
of  Pepin,  son  of  Charlemagne,  above  vphich  is  an  altar-piece  of  the  Lom- 
bard School  (Madonna  and  two  saints).  Opposite,  at  the  N.  entrance  to 
the  Crti't,  is  a  fresco  by  Borgognone  (Christ  among  the  Scribes).  The 
modernised  crypt  contains  a  silver  reliquary,  designed  in  189S  by  Jppolito 
Marchetli  and  Giov.  Lomazzi,  in  which  are  preserved  the  bones  of  SS.  Am- 
brose, Protasius,  and  Gervasius.  —  By  the  pulpit  are  a  bronze  eagle,  a 
bronze  relief  of  St.  Ambrose  (10th  cent.?),  and  an  early  Christian  sarco- 
phagus of  the  6th  century. 

Adjacent  to  the  left  aisle  is  an  unfinished  cloister,  designed  by 
Bramante  (1492),  and  afterwards  rebuilt. 

The  Via  Lanzone  (PI.  C,  6)  leads  hence  to  the  S.E.  to  the  Via 
Torino  and  San  Lorenzo  (see  below). 

d.  Along  the  Via  Torino  to  the  Southern  Quarters  of  the  City 
(San  Lorenzo,  Sant'  Eustorgio,  Ospedale  Maggiore). 

The  busy  Via  Torino  (PI.  E,  D,  6,  6;  tramways  to  Porta  Geneva 
and  Porta  Ticinese,  see  p.  130)  begins  at  the  S.W.  corner  of  the  Piazza 
del  Duomo.  To  the  left  is  the  small  church  of  San  Satiro  (PI.  E,  5, 6 ; 
closed  12-4,  in  winter  12-3),  founded  in  the  9th  cent.,  and  re-erected 
by  Bramante  about  1480.  The  facade  has  been  restored.  The 
apparent  choir  is  only  painted  in  perspective.  The  octagonal  *Bap- 
tistery  (originally  the  sacristy),  off  the  right  transept,  is  also  by 
Bramante,  and  has  a  beautiful  frieze  by  Caradosso  (?)  of  putti,  and 
heads  in  medallions.  At  the  end  of  the  left  transept  is  a  curious 
little  building  with  a  cupola,  belonging,  like  the  belfry,  to  the 
original  structure;  it  contains  a  Pieta,  in  painted  terracotta,  by 
Caradosso  (?  usually  covered). 

The  church  of  San  Giorgio  al  Palazzo  (PI.  D,  6),  farther  on,  to 
the  right,  contains  in  the  1st  chapel  on  the  right  a  St.  Jerome  by 
Oaud.  Ferrari;  in  the  3rd  chapel  on  the  right,  paintings  by  Luini : 
above  the  altar.  Entombment  and  Crowning  with  thorns ;  at  the 
sides,  Scourging  and  Ecce  Homo  ;  iu  the  dome.  Crucifixion  (fresco). 

Farther  to  the  N.W.,  in  the  Piazza  Mentana  (PI.  D,  6),  is  a  Monument 
by  Luigi  Belli,  erected  in  1889  in  memory  of  the  Italians  who  fell  at  Men- 
tana. —  In  the  Via  Marco  d'Oggiono  (PI.  0,  7),  at  the  S.W.  end  of  the 
old  town,  stands  the  large  Albergo  Popolare,  a  'poor  man's  hotel'  founded 
in  1900  by  the  Unione  Cooperativa  (p.  130). 

To  the  S.  the  Via  Torino  is  continued  by  the  Coeso  di  Porta 
Ticinese  (PI.  D,  7, 8),  in  which,  on  the  left,  is  a  large  ancient  *Coi,ON- 
NADE  (PI.  D,  7)  of  sixteen  Corinthian  columns,  the  most  important 
relic  of  the  Roman  Mediolanum.    Adjacent  is  the  entrance  to  — 

*San  Lorenzo  (PI.  D,  7),  the  most  ancient  church  in  Milan, 
which  was  erected  about  560  on  the  ruins  of  a  Roman  building, 
under  the  influence  of  St.  Sophia  in  Constantinople  and  San  Vitale 
in  Ravenna.  After  a  fire  in  1071  it  was  altered,  and  subsequently 
restored  by  Martina  Bassi  about  1573.   It  is  octagonal  in  form,  and 


Quarters.  xMlLAN.  2i>.  Route.    157 

covered  with  a  dome.  Ou  the  four  principal  sides  are  large  semi- 
circular apses  in  two  stories,  each  home  hy  four  columns  alternately 
octagonal  and  round. 

At  the  back  of  the  high-altar  is  the  Cappella  di  Sunt''  JppoUio,  dating 
from  the  5th  or  6tli  cent.,  containing  the  tomb  of  Count  Giov.  Maria 
Visconti ,  by  Marco  Agrate  (1559).  —  To  the  right  of  the  church  is  the 
equally  ancient  Cappelln  di  Sanf  Aquilino  (closed),  containing  mosaics  of 
the  6th  and  7th  cent.  (Christ  and  the  Apostles  and  Annunciation  to  the 
Shepherds,  the  latter  freely  restored),  and  an  ancient  Christian  sarco- 
phagus. The  entrance  to  the  chapel  from  the  church  is  adorned  with  an 
antique  marble  frame ,  on  which  appears  a  Bacchante  riding  a  goat  (to 
the  left). 

Farther  to  the  S.,  heyond  the  Naviglio,  rises  the  ancient  Domin- 
ican church  of  Sant'  Eustorgio  (PI.  D,  8],  founded  in  the  4th  cent., 
re-erected  in  the  Gothic  style  in  1278,  renewed  in  the  bad  taste 
of  the  17th  cent,  hy  Richino,  and  recently  again  restored.  The 
modern  facade  is  hy  Oiov.  Brocca  (1862). 

1st  Chapel  to  the  right,  Mural  monument  of  Giac.  Stefano  Brivio 
(d.  14&i),  by  Tommaso  da  Cazzaniga  and  Bened .  Briosco ;  4th  Chapel  to  the 
right,  Gothic  monument  of  Stefano  Visconti  (ca.  1337),  by  Bonino  da 
Campione  (?) ;  6th  Chapel,  Monuments  of  Gaspare  Visconti  and  his  wife  Agnes 
(d.  1417).  —  Farther  on,  on  the  same  side,  the  Cappella  de'  Magi,  con- 
taining a  relief  of  1347  and  a  late-Romanesque  sarcophagus,  in  which  the 
'bones  of  the  Magi'  were  preserved  until  they  were  presented  to  the  city 
of  Cologne  by  Frederick  Barbarossa  after  the  conquest  of  Milan  in  1162. 
By  the  high-altar  are  reliefs  of  the  Passion,  dating  from  the  14th  century. 
In  a  modern  sarcophagus  (1900)  below  are  deposited  the  bones  of  Eustor- 
gius,  Magnus,  and  Honoratus,  three  archbishops  cjf  Milan  in  the  4th  cen- 
tury. —  At  the  back  of  the  choir  is  the  'Cappella  Portinari,  with  a  fine 
cupola  and  a  charming  frieze  of  angels,  built  in  1462-66  by  Michelozzo 
(p.  133)  for  Pegello  Portinari  (d.  1468)  of  Florence.  It  contains  the  mag- 
nificent Gothic  tomb  of  St.  Peter  Martyr  by  Oiov.  di  Balduccio  of  Pisa 
(1339).  This  saint,  the  Dominican  Fra  Piecro  of  Verona,  was  murdered 
in  1252  in  the  forest  of  Barlassina,  in  consequence  of  his  persecution  of 
heretics.  The  walls  are  adorned  with  admirable  frescoes  of  the  four 
Fathers  of  the  Church,  scenes  from  the  life  of  St.  Peter  Martyr,  the  Aunim- 
ciation,  and  the  Assumption,  probably  by  Vine.  Foppa.  —  In  the  sacristy 
is  a  Penitent  St.  Jerome,  by  Borgognone.  —  The  adjacent  convent  is  now 
a  barrack. 

We  follow  the  street  to  the  Porta  Ticinese  (PI.  D,  8),  originally 
intended  to  commemorate  the  Battle  of  Marengo,  but  inscribed  in 
1815  'Paci  Populorum  Sospitse'.  We  then  turn  to  the  E.  and  skirt 
the  city-walls  to  the  Porta  Lodovica  (PI.  E,  8),  whence  we  follow 
the  CoRSO  San  Cklso  (PI.  E,  8,  7),  to  the  left,  to  the  church  of 
Santa  Maria  presso  San  Celso  (PI.  E,  8),  built  in  the  Renaissance 
style  by  Oiov.  Dolcebuono  after  1490.  It  possesses  a  handsome 
atrium  (1514),  groundlessly  attributed  to  Bramante ,  and  a  rich 
facade  by  Galeazzo  Alessi  (1569-72).  On  the  right  and  left  of  the 
portal  are  Adam  and  Eve  by  Stoldo  Lorenzi. 

The  Interior  is  in  the  form  of  a  basilica  with  barrel-vaulting  over 
the  nave,  a  dodecagonal  cupola,  and  an  ambulatory.  By  the  2nd  altar  to 
the  right.  Holy  Family  and  St.  Jerome,  by  Paris  Bordone;  in  the  ambu- 
latory, Qaudenzio  Ferrari,  Baptism  of  Christ,  and  Moretlo,  Conversion  of 
St.  Paul ;  at  the  beginning  of  the  left  aisle,  Borgognone,  Madonna  and  saints; 
below  it,  Sassoferrato ,  Madonna.  The  2nd  chapel  on  the  left  contains  a 
sarcophagus   with  the  relics  of  St.  Celsus.     The  cupola  is  decorated  with 


158    Routt  2-2.  MILAN.  d.  Southern  Quarters. 

frescoes  by  Appiani  (1795).  —  In  the  sacristy  are  some  fine  specimens   of 
goldsmith's  work. 

Adjacent  is  the  Romanesque  church  of  San  Celso,  docked  of  its 
"W.  half  in  1826  and  now  possessing  few  remains  of  the  original 
structure. 

At  the  N.  end  of  the  Corse  San  Celso  is  the  Piazza  SanV  Eu- 
femia,  in  which,  to  the  right,  stands  the  church  of  that  name  (PI.  E,  7), 
dating  from  the  5th  century.  In  the  third  chapel  on  the  left  is  a 
Madonna  with  saints  and  angels,  by  Marco  d'  Oggiono.  —  A  little 
to  the  S.  is  the  church  of  San  Paolo,  a  richly  ornamented  building 
of  the  middle  of  the  16th  century.  The  architectural  decorations 
of  the  facade  already  illustrate  the  principles  of  the  later  baroque 
style,  and  this  is  seen  even  more  strongly  in  the  interior,  which  is 
adorned  with  frescoes  by  the  brothers  Oiulio,  Antonio,  and  Vin- 
cenzo  Campi  of  Cremona. 

TheViaAmedei  leads  hence  towards  theN.  to  Sant' Alessandro 
(PI.  E,  6),  erected  about  1602  by  Lor.  Binago,  a  reduced  and  in 
the  interior  successful  copy  of  St.  Peter's  at  Rome,  with  two  W. 
towers.  The  sumptuous  decorations  date  from  the  close  of  the 
17th  century.  High -altar  adorned  with  precious  stones.  Facade 
restored  in  1905.  ■ — •  Adjacent  is  the  Palazzo  Trivulzio,  with  a 
handsome  baroque  portal  and  a  valuable  art- collection  (adm.  by 
special  introduction  only). 

Sculptures:  Tomb  of  Azzone  Visconti  (1328-39),  from  San  Gottardo, 
by  Oiov.  di  Baldticcio ,  to  whom  also  is  ascribed  the  relief  of  Louis  the 
Bavarian  investing  Azzone  Visconti  as  imperial  viceregent;  statuette  of 
a  warrior,  being  a  bronze  copy  of  one  of  the  figures  of  Leon,  da  Vinci't 
first  model  for  the  equestrian  monument  to  Franc.  8forza(p.  133);  a  relief- 
portrait  by  Cristoforo  Solari.  —  Paintings:  Antonello  da  Messina,  Portrait; 
Mantegna,  Madunna  enthroned,  with  saints  and  angels  (1497);  Qiov.  Bellini, 
Madonna.  The  extensive  library  conlains  a  Dante  codex  of  1337,  a  few 
leaves  from  the  Heures  de  Turin  (p.  39) ,  a  MS.  of  Leonardo  da  Vinci, 
and  other  rarities. 

The  Via  Carlo  Alberto  (PI.  E,  6,  6),  mentioned  at  p.  146,  passes 
a  few  paces  to  the  E.  of  Sant'  Alessandro.  From  it  we  turn  to  the 
S.E.  into  the  Coeso  di  Pokta  Romana  (tramway,  see  p.  130),  which 
leads  to  the  gate  of  that  name.  "We  follow  this  street  as  far  as  the 
church  of  San  Nazaro  (PL  F,  6,  7),  with  the  masterpiece  of  Ber- 
nardino Lanini  (1546),  a  large  fresco  representing  the  martyrdom 
of  St.  Catharine,  painted  in  imitation  of  the  similar  picture  in  the 
Brera  by  Lanini's  master  Gaudenzio  Ferrari  (p.  143);  a  handsome 
carved  Gothic  altar ;  and  ancient  Swiss  stained-glass  windows  to  the 
right  of  the  main  entrance.  A  side-entrance  admits  to  the  octa- 
gonal sepulchral  chapel  of  the  Trivulzi,  built  by  Oirolamo  della 
Porta  (1519).  —  To  the  N.E.,   in  the  Via  dell'  Ospedale,  is  the  — 

*0spedale  Maggiore  (PI.  F,  6) ,  the  first  municipal  hospital, 
a  vast  and  remarkably  fine  brick  structure,  begun  in  the  Renaissance 
style  in  1457  by  Antonio  Filarete  of  Florence ,  continued  in  the 
Gothic  style  by  Ouinifortt  Solari  and  other  Lombard  architects,  and 
not  completed  by  Franc.  Richino  till  after  1624.    The  edifice  is 


e.  Kaai  Quarters.  MILAN.  22.  Route.    159 

entirely  covered  externally  with  terracotta,  iu  a  style  frequently 
observed  in  other  Milanese  htiildings,  but  its  facade,  with  its  rich 
window-mouldings,  is  superior  to  any  other  structure  of  the  kind  at 
Milan.  The  extensive  principal  court,  surrounded  hy  arcades,  by 
Richino,  is  adjoined  on  the  right  and  left  by  eight  smaller  courts. 
In  the  chapel  are  two  paintings  by  Francesco  de  Vico,  containing 
portraits  of  Francesco  and  Bianca  Maria  Sforza,  the  founders  of  the 
hospital. 

From  the  back  of  the  hospital  the  Via  San  Barnaba  leads  to  the 
Kotonda  (PI.  H,  6;  open  on  Thurs.  &  Sun.,  10-4;  adm.  50  c),  built  by 
Arrigone  and  dedicated  by  the  Viceroy  Eugene  Beauharnais  in  1809  as  a 
Pantheon  Nazionale.  It  now  contains  a  large  ci>llection  of  portraits  of  bene- 
factors of  the  Ospedale  Magsnore,  from  the  16th  cent,  to  the  present  day.  — 
In  the  Via  Guastalla,  the  tirst  cross-street  of  the  Via  San  Barnaba,  is  the 
Spnagogite  tPl.  G,  6),  by  Luca  Beltrami  (1S92). 

A  little  to  the  N.  of  the  Ospedale  Maggiore  is  the  Piazza  Santo 
Stefano,  with  the  simple  Renaissance  church  of  that  name  (PI.  F,  6). 
—  Hard  by  is  the  Piazza  del  Verziere  (PI.  F,  G,  5),  used  as  a  vege- 
table-market. We  may  now  return  to  the  W.  by  the  Via  Tenaglie 
and  the  Piazza  Fontana  (PI.  F,  5)  to  the  Piazza  del  Duomo,  or  we 
may  follow  the  Via  Cesare  Beccaria  to  the  N.  to  the  Palazzo  di 
Giustizia  (PI.  F,  51,  a  baroque  structure  by  Seregni,  with  a  courtyard 
of  later  date  (1606);  to  the  left  of  the  portal  is  a  tablet  commem- 
orating Silvio  Pellico  and  the  other  Italian  patriots  committed  by 
the  Austrians  to  the  fortress  of  Spielberg  in  1821  (comp.  p.  45). 
Adjacent  is  the  Piazza  Beccaria,  with  a  statue  of  Beccaria  (p.  139) 
by  Grandi,  erected  in  1871.  —  The  Via  Cesare  Beccaria  ends  on 
the  N.  at  the  Corso  Vittorio  Emanuele  (see  below), 

e.  East  ftuarters  of  the  City.  Corso  Vittorio  Emanuele  and  its 
Side  Streets.   Giardini  Pubblici. 

On  the  N.E.  side  of  the  cathedral  begins  the  Coeso  Vittorio 
Emanuele  (PI.  F,  5;  tramway,  see  p.  130),  which,  with  its  pro- 
longation, the  Corso  Venezia(Pl.  G,  H,  4,  3),  leads  to  the  Giardini 
Pubblici.  This  is  the  principal  business-street  in  Milan,  containing 
the  best  shops.  At  No.  23,  on  the  left,  is  an  antique  statue,  known  as 
'I'uomo  di  pietra'.  Farther  on  is  the  church  of  San  Carlo  Eorromeo 
(PI.  F,  4,  5),  a  rotunda  in  the  style  of  the  Pantheon  at  Rome,  con- 
secrated in  1847.  The  adjacent  Galleria  de'  Cristdforis,  occupied  with 
shops,  was  erected  by  Pizzala  in  1830-32. 

To  the  right,  farther  on,  at  the  corner  of  the  Corso  Venezia 
and  the  Via  Monforte,  is  the  small  Romanesque  church  of  Santa 
Babila  (PI.  G,  4),  with  a  new  fa(;ade  (1905),  near  which  is  an  old 
Column  with  a  lion,  the  cognizance  of  this  quarter  of  the  town. 

To  the  S.  of  the  Via  Monforte,  in  the  Via  del  Conservatorio,  Is 
the  church  of  Santa  Maria  della  Passione  (PI.  H,  5),  'amori  et 
dolori  sacrum',  with  a  spacious  dome  by  Criai.  Solari  (1530),  and 
a  nave  and  facade  of  1692. 


160   Route  'J-J.  MILAN.  e.  East  Quarters. 

It  contains  a  Last  Supper  by  Gaud.  Ferrari  Oeft  transept),  a  'Pieta 
by  Luini  (behind  the  high-altar;  with  a  predella,  representing  scenes 
from  the  life  of  Constantine  and  Helena,  the  earliest  known  work  of 
this  master,  'showing  the  influence  of  Borgognone  and  Bramantino),  and 
the  tomb  of  Abp.  Birago  by  Andrea  Fusina  (1495;  right  transept).  The 
pilasters  are  adorned  with  figures  of  saints  by  Daniele  Crespi  (1622).  The 
ceiling  of  the  sacristy  was  painted  by  Borgognone. 

The  Conservatory  of  Music  occupies  the  old  monastery  buildings. 
—  In  the  vicinity  is  the  Gothic  monastic  church  of  San  Pietro  in 
Gessate(Pl.  G,  5),  built  about  1460,  containing  much  defaced  fres- 
coes by  Bern.  Butinone  and  Bern.  Zenale,  and  the  monument  of 
Ambrogio  Griffl  (d.  1493)  by  C.  Solari.  The  cloisters,  with  two 
early-Renaissance  courts,  are  now  occupied  by  the  Orfanotroflo,  or 
orphanage. 

At  the  E.  end  of  the  Corse  di  Porta  Vittoria,  outside  the  gate  of  that 
name  (PI.  H,  5;  tramway,  see  p.  130),  is  a  Monument  commemorating  the 
Cinque  Giornate  (p.  133),  designed  by  Gios.  Grandi  (d.  1894)  and  unveiled 
in  1895. 

We  now  return  to  the  Corse  Venezia.  On  the  left,  on  this 
side  of  the  canal,  is  the  Archiepiscopal  Seminary  (PI.  F,  G,  4),  by 
Gius.  Meda  (1570),  with  a  baroque  portal  and  a  fine  court.  In  the 
Via  del  Senato ,  which  diverges  to  the  left  by  the  Naviglio ,  is 
(No.  10)  the  Palazzo  del  Senato  (PL  G,  3  ;  formerly  Pal.  Elvetico), 
built  about  1600  by  Fabio  Mangone,  now  containing  the  provincial 
archives ;  in  the  court  is  a  colossal  equestrian  statue  of  Napoleon  III. 
(bronze),  lay  Barzaghi.  Adjacent,  at  the  beginning  of  the  avenue 
(Boschetti)  leading  to  the  Giardini  Pubblici,  are  marble  statues  of 
the  Garibaldian  generals  Giac.  Medici,  by  Barcaglia,  and  Gius.  Dezza 
(1830-98),  by  Enrico  Cassi  (1902). 

Farther  on  in  the  Corso  Venezia,  to  the  right.  No.  16,  is  the 
Casa  Fontana  (now  Silvestri^,  of  the  middle  of  the  15th  cent.,  with 
scanty  remains  of  the  ancient  paintings  on  the  fa(jade  by  Bramante, 
to  whom  a  frieze  in  one  of  the  rooms  is  also  ascribed.  —  No.  22  is 
the  Palazzo  Serhelloni  (18th  cent.),  now  the  property  of  Count  Sola, 
with  a  small  collection  of  old  musical  instruments,  some  artistic 
treasures  (Antonello  da  Messina,  Moretto,  and  others),  and  a  large 
park.  —  On  the  left,  farther  on,  Nos.  59-61,  is  the  Pal.  Ciani 
(PI.  G,  3),  completed  in  1861,  with  rich  ornamentation  in  terra- 
cotta. On  the  right  is  the  Pal,  Saporiti  (PI.  G,  3),  another  modern 
building,  in  the  'classicist'  style,  with  reliefs  by  Marchesi.  —  A 
little  farther  on,  to  the  left,  stands  the  — 

Museo  Civico  di  Storia  Naturale  (PI.  G,  3),  a  tasteful  Renais- 
sance building  of  brick,  erected  in  1892-94  and  containing  the 
natural  history  collections  of  the  city.  Adm.,  see  p.  131.  No  cata- 
logue.   Director,  Prof.  Tito  Vignoli. 

Gbound  Flook.  Room  I.  General  mineralogical  collection  ;  minerals 
from  Elba,  and  collection  of  stunes.  —  Room  II.  Fossils  of  Lombardy.  — 
Room  III.  General  straligraphical-palseontological  collection,  including  fine 
fossils  from  the  Pampas  of  S.  America  {Megatherium,  Glypiodon,  etc.),  from 
New  Zealand  {Dinornis  Maximus  or  Moa,  an  extinct  bird  of  gigantic  size) 
and  elsewhere.  —  Rooms  IV-VI  Mammalia  (skeletons,  stuffed  beasts,  etc.). 


f.  Cemeteries.  MILAN.  2:>.  Route.   161 

FiKST  Flook.  Rooms  I-V.  Ornithological  collection  (Raccolta  Turati; 
about  26,000  specimens).  —  Room  VI.  Collection  of  reptiles,  founded  by 
Jan  (d.  1866). 

The  *Giardiiu  Pubblici  (PI.  F,  G,  2, 3),  between  the  Corso  Venezia 
and  the  Via  Maiiin,  are  probahly  the  most  beautiful  public  park  in 
Italy,  with  their  tasteful  flower-beds,  their  pouds,  and  their  pictur- 
esque groups  of  venerable  trees.  In  the  older  part  of  the  park 
(1785),  near  the  new  Museo  Civico,  are  bronze  statues  of  Ant. 
Stoppani,  the  geologist  (1824-91 ;  by  Fr.  Confalonieri),  and  Gen. 
Gius.  Sirtori  (by  E.  Butti).  On  a  small  island  in  the  middle  is  a 
marble  statue  of  the  Milanese  poet  Carlo  Porta,  by  Puttinati.  Tlu; 
W.  portion  of  the  park,  laid  out  in  1856,  is  embellished  with  a 
bronze  statue  of  Ant.  Rosmini  (p.  200),  by  Franc.  Confalonieri 
(1895).  —  The  high-lying  N.  portion  of  the  gardens,  known  as  the 
Montemerlo,  has  a  cafe'-restaurant  and  a  bronze  statue  of  the  patriot 
Luciano  Manara  (d.  1869),  by  Barzaghi  (1894).  It  is  skirted  by  the 
chestnut  avenue  of  the  Bastioni  di  Porta  Venezia  (PI.  G,  F,  2,  1). 

On  the  S.  side  of  the  park,  in  the  Via  Palestro,  is  the  Villa  Reale 
(PI.  G,  3),  erected  by  L.  Pollack  for  Gen.  Belgioioso  in  1790  and  con- 
taining a  few  works  of  art.  —  In  the  Via  Manin  stands  the  Palazzo 
Melzi,  containing  paintings  by  Cesare  da  Sesto,  etc.  —  Piazza  Ca- 
vour,  see  p.  138. 

f.  The  Cemeteries. 

To  the  N.W.  of  the  city,  outside  the  Porta  Volta  (PI.  C,  D,  1) 
and  at  the  terminus  of  the  tramways  Nos.'  4  &  5,  mentioned  at 
p.  130,  lies  the  Cimitero  Mouumeutale  (closed  12-2),  designed  by 
C.  Maciachini,  50  acres  in  area,  enclosed  by  colonnades,  and  one 
of  the  finest  'campi  santi'  in  Italy.  (The  guide,  who  speaks  French, 
shows  visitors  round  if  desired ,  for  which  he  demands  a  fee  of 
11/2  fr.  for  each  person.)  The  numerous  and  handsome  monuments 
form  a  veritable  museum  of  modern  Milanese  sculpture.  In  the  last 
section  is  situated  the  ^Tempio  di  Cremazione' ,  presented  to  the 
town  in  1876  (inspection  permitted).    Fine  view  of  the  Alps. 

The  Cimitero  di  Musocco,  3  M.  to  the  N.W.  of  the  Porta  del 
Sempione  (p.  161),  was  laid  out  in  1895  and  is  twice  the  size  of 
the  Cimitero  Monumentale.  It  is  reached  either  by  the  Corso  del 
Sempione  (PI.  B,  A,  1)  or  by  the  Corso  al  Cimitero  di  Musocco  (tram- 
way), beginning  at  the  Piazza  San  Michele,  to  the  W.  of  the  Cimi- 
tero Monumentale. 

Excursion  from  Milan  to  the  Certosa  di  Favia. 

To  visit  the  Certosa  di  Pavia  we  may  use  either  the  Railway  to  Cer- 
lota,  on  the  Pavia-Voghera  line,  or  the  Pavia  Steam  Tramwat  as  far  as 
Torre  di  Mangano.  The  railway  starts  from  tlie  Central  Station  and  takes 
V2-I  hr.  (fares  3  fr.  30,  2  fr.  30,  1  fr.  50  c.  ;  return-fares  4  fr.  75,  2  fr.  50, 
1  fr.  60  c).  The  tramway  starts  about  every  2  hrs.  from  the  Porta  Tici- 
nese  (PI.  D,8;  electric  tramway  from  the  Piazza  del  Duomo,  see  p.  13i))  and 

Babdbkeb.  Italy  I.    13th  Edit.  11 


162    Route  22.         CERTOSA  DI  PAVIA.  Excxirsiom 

takes  IVz-lVi  ^^-  (return-fares  2  fr.  40,  1  fr.  50  c,  or,  incl.  omn.  to  the  Cer- 
tosa,  2  fr.  70,  1  fr.  80  c).    The  whole  excursion  takes  '/«  day. 

The  district  traversed  between  Milan  and  Pavia  consists  of  alter- 
nate stretches  of  rice-fields  and  underwood  and  offers  little  of  in- 
terest. At  (41/2  M.)  Rogoredo  the  Rail-way  diverges  to  the  S.  from 
the  line  to  Piacenza  (p.  357).  —  6V2  M.  Chiaravalle  Milanese  is 
noted  for  its  Cistercian  *Church,  a  fine  brick  edifice  with  a  lofty 
domed  tower,  in  the  Romanesque  style,  founded  by  St.  Bernard  of 
Clairvaux  and  dedicated  in  1221.  The  interior,  in  the  transition 
style  but  partly  modernized,  is  adorned  with  frescoes  by  Milanese 
painters  of  the  16th  cent,  and  contains  choir-stalls  of  1465  ;  in  the 
right  transept  are  frescoes  by  Bramante  (Ecce  Homo)  and  B.  Luini 
(Madonna).  —  1272  M.   Villamaggiore. 

171/2  M.  Stazione  della  Certosa,  whence  two  routes  lead  along 
the  enclosing  wall  (right  and  left)  to  the  entrance  (W.  side)  of  the 
Certosa  (walk  of  1/4  hr. ;  omn.,  30  c.,  one-horse  carr.  per  pers. 
50  c).  —  Ou  the  S.  side  of  the  Certosa  is  the  modest  Alb.  Milano. 

The  Steam  Tramway  follows  the  highroad  and  passes  BirMSco,  with 
an  ancient  castle,  in  which  the  jealous  Duke  Filippo  Maria  Visconti 
caused  his  noble  and  innocent  wife  Beatrice  di  Tenda  (p.  47j  to  be  put 
to  death  in  1418.  The  station  of  Torre  del  Mangano  (Alb.  d''Italia,  clean, 
df^j.  21/2,  D.  4  fr.,  wine  included;  Trattoria  della  Pesa  Pubblica,  unpre- 
tending), on  the  Naviglio  di  Pavia  (p.  132),  lies  about  V2  M.  to  the  W. 
of  the  Certosa  (omn.  30  c.). 

The  ^Certosa  di  Favia,  or  Carthusian  monastery,  the  splendid 
memorial  of  the  Milan  dynasties,  was  begun  in  1896  by  Giovanni 
Galeazzo  Visconti  (p.  127)  in  fulfilment  of  a  vow  made  by  his  wife 
Catharina.  The  monastic  buildings  were  practically  completed 
soon  after  Galeazzo's  death,  under  the  direction  of  Bern,  da  Venezia, 
Crista f.  da  Conigo,  and  others;  while  the  church  was  continued 
after  1453  by  Guiniforte  Solari  (d.  1481)  in  the  Lombard  Transition 
style,  with  exterior  arcading  and  elaborate  terracotta  ornamentation. 
The  facade  of  white  marble  (from  Carrara  and  Candoglia,  p.  4)  was 
begun  in  1473  by  Crist.  Mantegazza  and  Giov.  Ant.  Amadeo,  and 
the  lower  part  was  completed  after  1492  on  Amadeo's  model,  with 
the  assistance  of  Ben.  Briosco,  Ant.  Tamagnino ,  and  numerous 
other  sculptors.  The  warlike  commotions  of  the  time  kept  the 
upper  part  unfinished.  The  monastery,  suppressed  under  Emperor 
Joseph  II.  in  1782,  was  restored  to  its  original  destination  in  1843 
and  presented  to  the  Carthusians.  Since  the  suppression  of  the 
Italian  monasteries  (1866)  it  has  been  maintained  as  a  'National 
Monument'. 

An  inspection  of  the  Certosa,  which  is  open  from  8.30  to  5.30 
in  summer  and  from  9  to  4  in  winter  (on  Sun.  &  holidays,  except 
New  Year's  Day,  Easter  Sunday  and  Whitsunday,  9-3),  takes 
11/2-2  hrs.  (adm.  1  fr..  Sun.  free  ;  guide  imperative,  gratuities  for- 
bidden). 

Beyond  the  Vestibule  (ticket-office),  with  sadly-damaged  fres- 
coes by  Bern,  Luini  (SS.  Sebastian  and  Christopher)  and  others, 


from  Milan.  CERTOSA  DI  PA  VIA.  22.  Route.   163 

we  enter  the  Piazzaxk,  or  fore -court,  surrounded  by  the  former 
Farmada  or  laboratory  (now  a  liqueur-distillery),  the  Foresteria,  or 
pilgrims'  lodging-house,  and  the  Palazzo  Ducale  (now  a  Museum, 
p.  164),  huilt  about  1625  by  Franc.  Richino  for  distinguished  visi- 
tors to  the  monastery.  On  the  E.  side  of  the  court  rises  the  celebrated 
facade  of  the  church,  before  inspecting  which  a  glance  should  be 
taken,  from  the  N.E.  side,  of  the  choir  and  central  tower. 

The  **Facadb,  unquestionably  the  finest  example  of  early- 
Renaissance  decorative  work  in  N.  Italy,  is  perhaps  the  most  masterly 
creation  of  its  kind  of  the  15th  century.  Its  design,  independent 
of  the  antique  orders  of  architecture,  is  in  the  Lombard-Romanesque 
style  of  graduated  church-fronts,  with  projecting  pillars  and  trans- 
verse arcades,  while  within  these  well-defined  structural  features 
it  embraces  a  wonderful  and  judiciously  distributed  wealth  of 
ornament.  —  The  plinth  is  adorned  with  medallions  of  Roman 
emperors,  above  which  are  reliefs  representing  Biblical  history  and 
scenes  from  the  life  of  Giov.  Galeazzo  (including  the  transference 
of  the  bones  of  the  founder  to  the  Certosa  in  1474).  Below  the 
four  magnificent  windows,  by  Amadeo,  is  a  row  of  angels'  heads, 
and  above  them  are  niches  with  numerous  statues.  A  relief  by 
the  main  portal,  which  was  completed  in  1501  by  Ben.  Briosco, 
represents  the  dedication  of  the  church  in  1497.  The  statues  on 
the  top  are  by  Briosco,  Tamagnino,  Stefano  da  Sesto,  and  others. 

The  beautiful  and  spacious  *Intkeioe  has  a  purely  Gothic  nave, 
supported  by  eight  handsome  pillars,  with  aisles  and  14  chapels; 
while  Renaissance  forms  begin  to  appear  in  the  transepts  and  choir 
(each  with  a  triple  absidal  ending)  and  in  the  dome  above  the 
crossing.  The  originally  handsome  decorations  designed  by  Bor- 
gognone  and  the  fine  stained-glass  windows  of  the  15th  cent,  have 
nearly  all  disappeared.  Most  of  the  altar-pieces  and  the  present 
florid  enrichments  of  the  chapels  date  from  the  17th  century.  The 
beautiful  choir-screen  of  iron  and  bronze  was  executed  about  1660 
by  Ft.  Villa  and  P.  P.  Ripa.  The  mosaic  pavement,  originally  laid 
down  by  Rinaldo  de  Slauris  (1450),  was  restored  in  1850. 

We  begin  in  the  Left  Aisle.  1st  Chapel.  Renaissance  fountain  by 
the  brothers  Mantegazza.  2nd  Chapel.  Altar-piece  by  Perugino,  of  which 
only  the  central  part,  above,  representing  God  the  Father,  is  original, 
the  other  parts  being  now  in  the  National  Gallery  in  London.  Adjacent 
are  the  four  great  Church  Fathers,  by  Borgognone.  In  the  6th  Chapel : 
Borgognone,  St.  Ambrose  with  four  other  saints  (1490).  Left  Transept: 
'Figures  of  Lodovico  More  and  his  wife  Beatrice  d'Este  (d.  1497),  from  the 
demolished  monument  of  the  latter,  one  of  the  chief  works  of  Crist.  Solari, 
brought  in  1564  from  Santa  Maria  delle  Grazie  in  Milan  (p.  154)  and  restored 
in  1891.  In  front  of  the  altar  is  a  handsome  bronze  candelabrum  by  Ann. 
Fontana  of  Milan  (1580).  The  ceiling-fresco  is  by  5orfro</»one:  Coronation  of 
the  Virgin,  with  the  kneeling  figures  of  Fmnc.   Sforza  and  Lodovic<i  il  Moro. 

The  Old  Saceistt,  to  the  left  of  the  choir,  has  a  fine  marble  portal  with 
seven  relief-portraits  of  the  Visconti  and  Sforza  families ;  in  the  interior 
is  a  fine  carved  ivory  altar-piece,  in  66  sections,  by  Bald,  degli  Embriachi  of 
Florence  (1409).  —  The  Choir  contains  a  fine  marble  altar  by  Ambr.  Volpi 
and  others  (1568) ;  beneath,   in  front,  is  a  small  Pietk,  a  charming  relief- 

11* 


164   Route  23.  SARONNO. 

medallion.  The  *Choir  Stalls  are  adorned  with  inlaid  figures  of  apostles 
and  saints,  executed  hj  Bart,  de"  Polli  (1486-98)  from  drawings  by  Borgognone. 
—  The  door  to  the  right  of  the  choir,  handsomely  framed  in  marble  and 
with  seven  relief-portraits  of  Milanese  princesses,  leads  to  the  Lavabo, 
which  contains  a  rich  fountain  by  Alb.  Maffiolo  of  Carrara  (1490).  The 
stained  glass  dates  from  1477.  To  the  left  is  a  fresco  by  Bern.  Luini 
(Madonna  with  the  carnation). 

Right  Transept :  magnificent  'Monument  of  Giov.  Galeazzo  Visconti, 
begun  in  1494-97  by  Oian  Crisloforo  Romano  and  Ben.  Briosco,  but  not 
finished  until  1562  (by  Galeazzo  Alessi  and  others).  The  ceiling-frescoes, 
by  Borgognone.,  represent  C.iov.  Galeazzo,  holding  the  orginal  model  of  the 
church,  and  his  sons  kneeling  before  the  Virgin.  —  The  adjoining  Saghestia 
NoovA,  or  Oratorio,  has  a  large  altar-piece,  an  'Assumption  by  A.  Solaria 
(completed  in  1576  by  Bern.  Campi).  Over  the  door,  -Madonna  enthroned, 
veith  two  saints  and  angels,  by  Bart.  Montagna  (1490);  the  side-pictures 
are  by  Borgognone.     In  the  desk -cases  are  choir- books  of  1551  and  1567. 

An  elegant  early-Renaissance  portal  leads  from  the  right  transept  to 
the  'Front  Cloisters  (Cbiostro  della  Fontana) ,  which  possess  slender 
marble  columns  and  charming  decorations  in  terracotta  by  Rinaldo  de 
Stavris  (1463-78).  Fine  view  from  the  front  of  the  Refectory  (W.  side)  of 
the  side  of  the  church  and  the  S.  transept.  —  Around  the  Great  Cloisters 
(Grande  Chiostro),  which  also  have  fine  terracotta  decorations  by  R.  de 
Slawis,  are  situated  24  small  houses  formerly  occupied  by  the  monks,  each 
consisting  of  three  rooms  with  a  small  garden. 

We  now  re-enter  the  church.  Right  Aisle.  In  the  2nd  Chapel :  Guercino, 
Madonna  enthroned,  with  two  saints  (1641;  injured).  3rd  Chapel:  Bor- 
gognone, St.  Sirus  and  four  other  saints  (1491).  The  well-preserved  ceiling-, 
decoration  is  by /ac.  de  J/o«s  (1491).  4th  Chapel :  Borgognone,  'Crucifixion 
(1490).  6th  Chapel :  Altar-piece  by  Macrino  d'Alba  (1496 ;  the  four  Evangelists 
above  are  by  Borgognone). 

The  Palazzo  Ducale  (p.  163)  has  been  occupied  since  1901  by  the 
Certosa  Museum,  containing  paintings,  sculptures,  casts,  objects  found  in 
1889  in  the  coffin  of  Giov.  Galeazzo,  etc. 

The  Dome  cannot  be  ascended  without  a  special  'permesso',  obtained 
at  the  prefecture  in  Pavia. 

Pavia,  whicli  lies  5  M.  to  the  S.  of  the  Certosa,  and  the  railway 
thence  to  Voghera  and  Oenoa,  are  described  in  R.  32. 


23.  From  Milan  to  Como  via  Saronno. 

281/2  M.  Railway  (Ferrovie  Nord)  in  lV4-lV4br.  (fares  3  fr.  45,  2  fr.  20, 
1  fr.  65  c.  ;  return-fares,  5  fr.,  3  fr.  20,  2  fr.  25  c).  —  At  both  the  Stazione 
Ferrovie  Nord  and  the  town  office  (p.  12^)  through  and  return  tickets 
(p.  173)  may  be  procured  for  Brunate,  Cernobbio,  Cadenabbia,  Bellagio, 
Menaggio,  Bellano,  and  Colico. 

As  far  as  (3  M.)  Bovisa,  see  p.  171.  Farther  on  we  enjoy  a  good 
view  of  the  Mte.  Rosa  group,  to  the  left. 

131/2  M.  Saronno  (702  ft.;  Albergo  Madonna;  Leon  d'Oro),  a 
large  village  on  the  Lura,  with  8700  inhah.,  known  in  Italy  for  its 
excellent  gingerbread  (amaretti).  —  A  quadruple  avenue  of  plane 
trees  leads  W.  from  the  station  to  the  (1/4  M.)  celebrated  pilgrimage- 
church  called  the  Santuaeio  della  Bkata  Vbkgine,  an  early- 
Renaissance  structure  by  Fietro  daW  Orio  (1498),  with  a  campanile 
by  Faolo  Porta  (1516),  while  the  facade  and  other  additions  are  in 
a  pompous  baroque  style  (17th  cent.).  It  contains  a  series  of  ad- 
mirable *Fre8coes. 


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MONZA.  24.  Route.    165 

The  paintings  in  the  interior  of  the  dome  represent  a  concert  of 
angels,  and  are  by  Gaudenzio  Ferrari.  Round  the  drum  are  several  wooden 
statnes  by  Andrea  Fusina.  The  frescoes  immediately  below  the  drum  arc 
by  Lanini,  those  in  the  next  section  by  Cesare  del  Ma(jno  and  Bernardino 
Luini  (SS.  Rochus  and  Sebastian).  The  remaining  frescoes  are  all  by 
Luini,  who,  as  the  story  goes,  sought  an  asylum  in  the  sanctuary  of  Sa- 
ronno  after  killing  a  man  in  self-defence,  and  had  to  work  at  the  bidding 
of  the  monks.  In  the  passage  leading  to  the  choir  are  depicted  the  Mar- 
riage of  the  Virgin  and  Christ  among  the  doctors;  in  the  choir  itself, 
the  'Adoration  of  the  Magi  and  the  Presentation  in  the  Temple.  Above, 
in  the  panels  and  lunettes,  are  Sibyls,  Evangelists,  and  Church  Fathers. 
A  small  apse  built  out  from  the  choir  contains  paintings  of  *St.  Apollonia 
to  the  right,  and  *St.  Catharine  to  the  left,  each  with  an  angel. 

Saronno  is  a  station  on  the  line  from  Novara  to  Seregno  (p.  68) 
and  the  starting-point  of  a  branch-line  of  the  Ferrovie  Nord  via 
Castellaiiza  (p.  (38)  to  (lA^/oM.)  Cairate-Lonate-Ceppino,  in  the 
industral  Olona  valley.  (Continuation  to  Mendrisio  projected.)  — 
From  Saronno  to  Varese  and  Laveno,  see  R.  29. 

25V2  M.  Orandate  (p.  170).  —  271/2  M.  Camerlata  (p.  167).  — 
We  descend,  enjoying  a  pretty  view  of  Como  and  Brunate,  to  (28  M.) 
Como  Borghi.  28'/2  M.  Como  Lago,  the  main  station  (comp.  p.  167). 


24.  From  Milan  to  Como  and  Lecco  (Colico)  via  Monza. 

From  Milan  to  Como,  30  M.,  railway  (St.  Gotlhard  line)  in  I-I3/4  hr. 
(fares  5  fr.  60,  3  fr.  90,  2  fr.  40  c. ;  express,  6  fr.  15,  4  fr.  30  c).  Through 
and  return  tickets  may  be  obtained  at  the  Central  Station  of  Milan  and 
at  the  Agcnzia  Internazionale  (p.  12S)  for  Tremezzo,  Cadenabbia,  Bellagio, 
Menaggio,  and  Colico.  —  From  Milan  to  Legco,  3Vh  M.,  railway  in 
1-2  hrs.  (fares  5  fr.  95,  4  fr.  15,  2  fr.  70  c. ;  express,  6  fr.  55,  4  fr.  60  c,  3  fr.); 
to  Colico,  56  M.,  in  2'A-3V4  hrs.  (fares  10  fr.  45,  7  fr.  35,  4  fr.  70  c. ;  express, 
11  fr.  50,  8  fr.  5  c). 

The  lines  to  Como  and  Lecco  are  identical  as  far  as  Monza  and 
traverse  a  fertile  and  well-irrigated  plain,  luxuriantly  clothed  with 
vineyards,  mulberry-plantations,  and  fields  of  maize,  —  41/2  M. 
Sesto  San  Oiovanni. 

8  M.  Monza.  —  Hotels.  Alb.-Ristor.  del  Pakco,  Alb.-Ristor.  Sport, 
both  11/2  M.  from  the  station,  opposite  the  entrance  to  the  palace  park, 
with  gardens;  Alu.  del  Castello  e  Falcone,  at  the  station,  unpretending. 

—  Cafe.  Caffe-liistor.  GaKzia,  Piazza  Roma.  —  Cabs.  Per  drive  ^j^  fr. ; 
per  1/2  hr.  in  the  town  1  fr.,  each  addit  1/2  hr.  70  c.;  outside  the  town  2 
and  1  fr.  —  Electric  Railway  to  Milan,  see  p.  130. 

Monza  (532  ft.),  a  town  on  the  Lambro,  with  27,800  Inhab.,  has 
been  the  coronation-town  of  the  kings  of  Lombardy  since  the 
11th  cent.  (comp.  p.  202).  Leaving  the  station  and  following  the 
Via  Italia  to  the  right,  we  pass  the  church  of  Santa  Maria  in  Jstrada 
(second  on  the  right),  with  a  Gothic  brick  facade  of  ca.  1393  (in- 
terior modernized),  and  in  10  min.  reach  the  Piazza  Roma,  the 
centre  of  the  town,  with  the  handsome  Gothic  Municipio  or  town- 
hall,  also  called  Palazzo  Arengario  (13th  cent.,  restored  in  1890). 

—  A  few  paces  to  the  S.E.,  beyond  the  Via  Napoleone,  is  the  Piazza 
del  Duomo,  in  which  rises  the  — 


166   Route  24.  MONZA.  From  Milan 

Catk'edb.ai,  (San  Oiovanni),  the  cMef  object  of  interest.  It  was 
erected  in  the  14th  cent,  in  the  Lombard  Gothic  style  by  Matteo  da 
Campione  on  the  site  of  a  church  founded  in  590  by  the  Lombard 
queen  Theodolinda  and  afterwards  replaced  by  a  Romanesque 
structure.  The  interior,  with  both  aisles  flanked  by  chapels,  has 
been  almost  entirely  modernized  since  the  17th  century.  The  fine 
facade,  with  a  large  rose-window,  was  restored  in  1899-1901.  Above 
the  portal  is  a  very  curious  Romanesque  relief  representing  Queen 
Theodolinda  amid  her  treasures;  below,  the  Baptism  of  Christ.  The 
campanile,  burnt  down  in  1740,  has  been  re-erected  since  1891. 

Intekioe.  In  the  right  transept  is  a  curious  relief  representing  the 
coronation  of  a  German  king,  from  the  former  imperial  gallery  by  M.  da 
Campione  {nov!  the  organ-loft).  —  The  chapel  to  the  left  of  the  choir,  restored 
in  1890,  contains  the  plain  sarcophagus  of  Queen  Theodolinda  (14th  cent.) 
and  frescoes  of  scenes  from  her  life  by  the  Zavaltari  (1444).  Here  also  is 
preserved  the  celebrated  Iron  Crown,  supposed  to  have  been  the  royal 
crown  of  the  Lombards,  with  which  the  German  emperors  were  crowned 
as  kings  of  Italy,  from  the  13th  cent,  onwards.  This  venerable  relic  was 
used  at  the  coronation  of  the  Emp.  Charles  V.  in  1530,  of  Napoleon  at 
Milan  in  1805,  and  of  Emp.  Ferdinand  I.  in  1838.  It  consists  of  a  broad 
hoop  of  gold  adorned  with  precious  stones,  round  the  interior  of  which 
is  a  thin  strip  of  iron,  said  to  have  been  made  from  a  nail  of  the  true 
Cross  brought  by  the  Empress  Helena  from  Palestine.  In  its  present  form 
it  is,  perhaps,  a  work  of  the  12th  century.  In  1859  it  was  carried  off  by 
the  Austrians,  but  after  the  peace  of  1866  it  was  restored.  (Fee  for  seeing 
the  crown  and  treasury,  5  fr.).  —  The  'Tbeasukt  (fee  1  fr.)  contains  several 
objects  of  historical  interest:  a  hen  with  seven  chickens  in  silver-gilt 
(on  a  modern  copper  base),  perhaps  representing  Lombardy  and  its  seven 
provinces,  executed  by  order  of  Queen  Theodolinda;  the  queen's  crown, 
fan,  and  comb;  a  richly-adorned  book-cover  with  an  inscription  of  Theo- 
dolinda; fine  diptychs  of  the  4-6th  cent. ;  reliquary  of  Berengarius;  goblet 
of  sapphire,  with  a  stem  of  Gothic  workmanship;  Gothic  goblet  of  Giov. 
Galeazzo  Visconti;  Gothic  carvings  in  ivory.  —  In  a  wali-recess  of  the  old 
cemetery,  on  the  N.  side  of  the  cathedral,  is  the  mummy  of  Ettore  Visconti 
(d.  1413),  shown  by  the  verger. 

In  the  Via  Matteo  da  Campione,  in  the  N.W.  part  of  the  town, 
a  Memorial  Chapel  is  to  mark  the  spot  on  which  King  Humbert  I. 
was  asassinated,  on  July  29th,  1900. 

To  the  N.  of  the  town,  about  3/^  M.  from  the  Piazza  Roma,  lies 
the  Castbllo  Reale,  reached  by  the  Via  Carlo  Alberto  and  across 
the  Piazza  Vittorio  Emanuele ;  it  was  formerly  the  royal  summer- 
palace  and  stands  in  an  extensive  and  beautiful  park,  traversed  by 
the  Lambro.  The  mansion,  in  the  'classicist'  style,  was  built  about 
1777  by  Oius.  Piermarini  for  Archduke  Ferdinand,  Governor  of 
Lombardy.  A  drive  in  the  park  is  attractive  (entrance  near  the  ter- 
minus of  the  electric  tramway  mentioned  on  p.  130,  1/4  M.  to  the 
left  of  the  Castello);  cyclists  also  are  admitted. 

From  Monza  to  Bergamo,  24  M.,  steam-tramway  in  21/4  hrs.  The  chief 
intermediate  stations  are  (51/2  M.)  Vimercate  and  (I31/2  M.)  Trezzo  suW  Adda 
(615  ft.),  with  the  picturesque  ruins  of  a  Castle  of  the  Visconti  (adm.  50  c), 
in  which  Giov.  Galeazzo  (p.  127)  confined  his  uncle  Bernabo.  The  Mar- 
tesana  (p.  132)  diverges  here,  and  its  old  sluices  are  said  to  have  been 
constructed  by  Leonardo  da  Vinci.  —  Bergamo,  see  p.  209. 

Other  steam-tramways  run  from  Monza;  1.  To  Qorgonzola  (famous  for 
its  cheese),  Tre:viglio,   and  Caravaggio  (p.  217).    2.  Past  the  royal  park  to 


to  Como.  COMO.  24.  Route.    167 

(T/a  W.}  Carnte  Brianza.  3.  Via  (i'^j-z  M.)  ^rcorc  (p.  170),  (U  M  )  Monlicello 
(1330  It. ;  Aib.  Monticello),  a  favuurite  siimmer-rescirt  iu  the  Brianza  (p.  171), 
and  (i2V2  M.)  Barzand  (1215  ft.),  to  (20  il.)  Oggiono  (p.  170). 

The  lines  to  Como  and  Lecco  divide  at  Monza.  The  former,  the 
St.  Gotthard  line,  runs  to  the  N.W.,  affording  pleasant  views.  Two 
tunnels. '  IO1/2  M.  Lusone-Muggih.  Before  reaching  (12  M.)  Desio 
a  good  view  is  obtained  of  the  Alpine  chain  from  the  Monte  Resegone 
to  the  Monte  Grlgna  and  behind  it  of  the  mountains  reaching  to  the 
Spliigen, 

ISV'i  M.  Seregno  (736  ft.),  a  town  wilh  12,000  inhabitants. 

From  Sereono  to  Bkroamo,  25  M.,  railway  in  IV2-2  brs.  (fares  4  fr.  65, 
3fr.  25,  2  fr.  10  c.).  —  8V2  M.  Usmate-Carnate  (p.  17u).  —  Beyood  (13  M.) 
Paderno  d'Adda  (870  ft.)  the  railway  crosses  the  Adda  (p.  180)  by  the  "Ponte 
di  Paderno.,  a  single  l)old  iron  archway,  275  ft.  above  the  level  of  the 
water.  Below  the  bridge  the  stream  forms  a  series  of  rapids  (rdpidi). 
Adjacent  is  a  dam,  140  yds.  long,  constrncted  by  the  Edison  Co.  of  Milan 
in  1897  to  conduct  the  water  into  the  Naviglio  di  Paderno  (I3/4  M.  long), 
which  couvys  it,  partly  underground,  to  the  Electric  Works.,  90  ft.  above 
the  level  of  the  Adda,  which  furnish  the  motive  power  (ca.  13,000  horse- 
power) for  the  tramways  and  lighting  of  (2IV2  M.)  Milan  and  Monza.  — 
20  M.  Ponte-San-Pielro- Locate  (p.  216).  —  25  M.  Bergamo.,  see  p.  209. 

From  Seregno  to  Novara,  see  p.  68. 

To  the  right  lies  the  fertile  Brianza  (p.  171),  with  its  numer- 
ous country-residences,  and  in  the  background  rises  the  indented 
Monte  Resegone  (p.  170).  —  From  (I71/2  ^0  Camnago  a  branch-line 
diverges  to  San  Pietro  (p,  171),  20  M.  Carimate ;  21  M.  Cantii- 
Asnago.  Tunnel.  23'/2  M.  Cucciago ;  '26  M.  Albate-Camerlata,  at 
the  foot  of  a  mountain-cone  (1416  ft.)  bearing  the  Castello  Baradelio, 
which  was  probably  erected  by  Frederick  Barbarossa  and  was  destroyed 
by  the  Spaniards  in  1627;  the  tower  was  restored  in  1903.  —  29  M. 
Como  (^Stazione  San  Giovanni,  see  below), 

Como,  —  Arrival.  The  Stazione  Como  San  Giovanni  or  ifediterranea, 
the  principal  station  (St.  Gotthard  Railway),  is  1/2  ^I-  *o  the  S.W.  of  tlie 
quay  (omn.  30  c,  included  in  through-tickets).  —  The  Stazione  Como  Lago 
or  Ferrovie  yard  lies  360  yds.  to  the  E.  of  the  quay  (branch-lines  to  Saronno 
and  Milan,  p.  164,  and  to  Vareso  and  Laveno,  p.  170).  —  The  Stazione 
Como  Borghx,  a  third  station,  is  of  no  importance  to  tourists. 

Hotels  (all  near  the  harbour).  '6e.  Hot.  Pliniu.s  (PI.  p),  Lungo  Lario  di 
Levante,  a  comfortable  Italian  house  of  the  first  class,  !•>.  from  4,  B.  l'/2, 
d^j.  31/2-4,  D.  5-6,  music  V2,  pens,  for  a  stay  of  4  days  from  9,  omn.  I'/z  fr. 
(closed  Nov.  15th -Feb.  2Stb).  —  *Gk.  Hot.  Volta  (PI.  v),  also  with  lift 
and  steam-heating,  R.  3-5,  B.  I1/2,  ddj.  3,  D.  4,  pens.  8-10,  omn.  1  fr.-.  Hot. 
MfiTuopoi-E  ET  Suis.se  au  Lac  (PI.  m),  with  cafe,  R.  2V2-5,  E.  I1/2,  dej.  2V2-3, 

D.  4,  S.  8,  pens.  8-12,  omn.  1  fr. ;  Italia  (PI.  i),  with  lift  and  steam-heating, 

E.  2-4,  B.  iVz,  dej.  2'/2-3,  D.  4,  pens.  7-9,  omn.  3/«  1  f"". ;  Hotel-Pbnsion 
Bellevue  (Pl.  b),  with  steam  -  healing  and  restaurant,  R.  from  2,  B.  i'/«, 
pens,  from  7,  omn.  ^4-1  fr. 

Restaurants,  liittorante  delta  Bdrchetta  (with  bedrooms),  Piazza  Gavour ; 
Jiislorante  San  Gotlardo  (R.  from  i'/x  fr.),  Piazza  Volta.  —  Cafes.  Caffi<  del 
Bottegone,  Birreria  d^Jlalia,  Piazza  del  Duomo ;  Caffk-Risiorante  Sbodio.,  Caffi- 
Ristorante  Plinio,  Piazza  I'avour. 

Bathing  Estaklisiiment  {Bagni ;  also  warm  and  vapour  baths),  on  the 
lake  by  the  Giardino  Pttbblico.  —  Post  &  Telegraph  Office,  ViaUnione.  — 
Photographs,  etc.  at    VittanVs,  Via  Plinio  4. 

Omnibus  from  the  Stazione  Como  Borghi  (see  above)  to  the  Calle  Rail- 
xcay  (10  c);  to  Cernobbio  (p.  174;  30  c.).  —  Steamboat  to  Cernobbio,  Torno, 
and  Moltratio,  10  times  daily  (20  c). 


168   Route  24.  COMO.  From  Milan 

Cable  Railway  ( Funicolave)  from  the  Borgo  Sanf  Agottino,  '/«  M.  to  the 
N.  of  Stazione  Como  Lago,  to  Brunate  (p.  169),  every  '/z  hr.  (hourly  in 
winter);  fares,  up  li/z,  <lown  1,  up  and  down  2  fr.,  before  8  a.m.  and  after 
7  p.m.  and  (in  Snn.  and  holidays  1  fr. 

Como  (6G3  ft.),  a  flouiishing  industrial  town,  the  capital  of  a 
province,  and  the  see  of  a  bishop,  with  38,174  inhab.  and  large  silk- 
factories,  lies  at  the  S.W.  end  of  the  Lake  of  Como  (p.  173),  and 
is  enclosed  by  an  amphitheatre  of  mountains.  The  small  stream 
Cosia  enters  the  lake  here.  Como  is  the  Roman  Comum^  the  birth- 
place of  the  elder  and  younger  Pliny.  The  electrician  and  philosopher 
Volta  (1745-1827 :  whose  Statue  by  P.  Marches!  (1838)  is  in  the 
Piazza  Volta,  to  the  S.W.  of  the  quay),  was  born  at  Como  in  the 
house  marked  'Casa  Volta'  on  the  Plan. 

The  Piazza  Cavour,  a  large  square  near  the  harbour,  the  most 
animated  part  of  the  town  on  fine  evenings,  is  connected  with  the 
Piazza  del  Duomo  by  the  short  Via  Pllnio. 

The  *Cathedeal,  built  entirely  of  marble,  is  one  of  the  best  in 
N.  Italy.  The  nave  was  rebuilt  in  the  Gothic  style  about  1396,  the 
facade  in  1457-87  (by  Luchino  Scharabota  da  Milano  and  others); 
and  in  1487-1626  the  transepts,  choir,  and  exterior  of  the  nave  were 
altered  in  the  Renaissance  style  by  Tommaso  Rodari,  who  used 
Crisiof.  Solaris  design  (1519)  for  the  beautiful  apse.  The  S.  portal 
(1491)  is  built  in  Bramante'a  style  by  an  unknown  architect;  the 
octagonal  dome  is  by  Fil.  Juvara  (1731).  The  greater  part  of  the 
sumptuous  plastic  ornamentation  is  by  Tommaso  Rodari  and  his 
brother  Jacopo.  Over  the  magniflcentW.  portal  are  reliefs  (Adoration 
of  the  Magi)  and  statuettes  (Mary  with  SS.  Abondius  and  Protus, 
etc.);  at  the  sides  are  statues  of  the  two  Plinys,  erected  in  1498. 
The  over-decorated  N.  portal  (Porta  della  Rana)  dates  from  1505-9. 

Interior.  The  heavy  and  gaudy  vaulting,  restored  in  1838,  destroys 
the  eft'ect  of  the  fine  proportions,  which  resemble  those  of  the  Certosa 
near  Pavia  (p.  162).  —  To  the  right  of  the  entrance  is  the  monument  of 
Cardinal  Tolomeo  Qallio  (1861).  Farther  on,  to  the  right,  second  altar,  with 
handsome  wood-carving  and  scenes  from  the  life  of  St.  Abondius  (1514) ; 
adjoining  (1.)  the  "Adoration  of  the  Magi,  by  Bern.  Luini,  and  (r.)  the 
Flight  into  Egypt,  by  Gaud.  Ferrari.  Over  the  third  altar,  a  Madonna  by 
B.  Luini.  In  the  Choir,  the  Apostles,  by  Pompeo  Marchesi.  The  Sacristy 
contains  pictures  by  Guido  Reni,  Paolo  Veronese  (1),  etc.  Fine  statue  of 
St.  Sebastian  (1498)  in  the  N.  Transept.  In  the  Left  Aisle:  at  the  first 
altar,  Entombment  by  Tommaso  Rodari  (1498)5  ^^  ^^^  second  altar,  1. 
G.  Ferrari,  Nuptials  of  the  Virgin,  r.  B.  Luini,  Adoration  of  the  Shepherds. 

To  the  left  of  the  cathedral  is  the  Broletto  (now  a  public  office), 
constructed  of  alternate  courses  of  black  and  white  stone,  and  com- 
pleted in  1215  (restored  in  1900).  • 

In  the  Via  Vittorio  Emanuele,  which  runs  S.W.  from  the  cath- 
edral, is  the  rear  of  the  Romanesque  church  (rebuilt  in  1265)  of 
San  Fedele,  with  a  fine  pentagonal  apse.  The  chief  fagade  of  the 
church,  in  the  Piazza  del  Mercato,  is  as  little  worthy  of  attention 
as  the  completely  modernized  interior.  —  The  Palazzo  Giovio,  on 
the  left,  at  the  end  of  the  street,  contains  the  Museo  Civico  (adm. 
daily  except  Tues.,  10-4,  50  c,  Frid.  1  fr. ;  catalogue  1  fr.). 


to  Lecc.o.  COMO.  '24.  Route.    169 

On  the  groundfloor  are  memorials  of  Volta  and  of  Cesare  Cant  it 
(1807-95)  the  historian;  views  of  Como,  etc.  —  On  the  first  floor  are  pre- 
historic and  Roman  antiquities;  a  rich  collection  of  coins;  autographs  of 
Volta  and  others;  local  curiosities,  etc. 

The  old  Toxcn  Wall  is  intact  except  near  the  lake;  on  the  S.K. 
side  are  three  well-preserved  towers,  that  in  the  middle,  the  Porta 
Torre,  now  known  as  the  Porta  Vittoria,  heing  a  massive  five-storied 
structure.  —  In  the  Viale  Varese,  a  promenade  shaded  with  plane- 
trees  and  skirtiTig  the  S.W.  town-wall,  is  the  church  of  the  San- 
tissitna  Anniinziata,  of  the  17th  cent.,  also  known  as  the  Chiesa 
del  Crocefisso,  from  a  miraculous  image. 

Farther  to  the  S.,  on  the  slope  of  the  mountain  on  the  other  side 
of  the  Cosia,  is  the  fine  old  ^Basilica  SanV  Abbondio,  originally  a 
Lombard  structure  of  the  8th  cent.,  rebuilt  in  the  11th  cent.,  and 
well  restored  in  1863-88.  Beneath  it  the  remains  of  a  church  of 
the  5th  cent,  have  been  found. 

Excursions  (comp.  Map,  p.  172).  The  Castello  Baradello  (p.  167),  reached 
from  the  Piazza  Vittoria  in  l'/2  hr.  by  the  Via  Milano  (to  the  S.)  and 
then  by  a  tolerable  footpath,  is  an  excellent  point  of  view.  —  On  the  W. 
bank  of  the  lake,  on  the  beautiful  road  to  (2V2  H.)  Cernobbio  (p.  174),  just 
beyond  the  Borgo  San  Giorgio  or  N.W.  suburb  of  Cumo,  lies  the  'Villa 
VOlmo  (Duca  Visconti-Modrone).  the  largest  on  the  lake,  with  fine  rooms 
and  a  charming  garden  (visitors  admitted).  —  Another  fine  "Road,  traversing 
the  Borgo  San(  Agoitino,  leads  along  the  E.  bank  of  the  lake  and  then, 
on  the  hillside,  high  above  the  lake,  to  Blevio  and  (5  M.)  Torno  (p.  175). 

A  Cable  Railway  (2/3  M.  long;  its  steepest  frradient  5o:l(X);  fares,  see 
p.  IG-i),  passing  through  a  tunnel  13'2  yds.  long,  leads  from  the  N.  end  of 
the  Borgo  S^int' Agostino,  via,  Ca?'eM!one  (Ristorante  Falchet'o),  to  (20  niin.) 
Brunate  (2350  ft.;  Ornnd  ffdiel  Brunale,  w^ith  steam-beating  and  garden, 
E.  3  o,  B  IV2.  <le.j.  3,  D.  5,  pens.  8-11  f r. ;  mt.  Milan,  W.  from  2V2,  de'j.  21/2, 
D.  372,  pens,  from  7  fr. ;  Alb.  Bellavista,  with  small  garden  with  view, 
R.  fnim  2,  E.  ^/4,  d^j.  2'/2-  D.  3,  pens.  7  fr.,  incl.  wine,  Italian,  very  fair; 
Chalet  Brunate,  with  view-terrace,  dcj.  2V2,  D-  3V2  fr.),  which  commands  a 
superb  "View  of  the  plain  of  Lombardy  as  far  as  Jlilan,  and  of  Mie  Alps  to 
Mte.  Rosa  (best  light  in  the  morning).  —  .Several  pleasant  walks  (guide- 
posts  and  benches):  to  the  (20  min.  I  Piani  di  Brunate,  on  the  slope  above 
the  lake;  to  the  (12  min.)  Fontana  Pissarotlino  (23S5  ft.),  with  a  view  of 
Cernobbio  and  Monte  Bisbino;  to  (1/2  hr.)  San  Maurizio  (2860  ft.;  Hot.- 
Restanrant  du  Pare,  dej.  2V2,  I>.  3'/2  fr.,  incl.  wine)  and  she  Tre  Croci 
(2970  ft.).  More  comprehensive  views  are  commanded  by  the  Pizzo  di  Torno 
(3740  ft.),  I'A  hr.  to  the  E.  of  S.  Maurizio,  and  by  the  (2  hn.)  Monte  Boletto 
(4050  ft.). 

From  Como  to  Bellagio  via  Eeba,  about  26  M.,  one-horse  carriage 
in  5-6  hrs.  (25  fr.).  The  road,  which  will  also  repay  the  pedestrian,  ascends 
the  valley  of  the  Cosia.  The  lake  is  concealed  by  the  spurs  of  the  Monte 
Boletto.  In  the  church  of  Camnago  Volta  (a  little  to  the  N.  of  the  road) 
is  the  tomb  of  Volta  (p.  168).  Farther  on,  to  the  S.  of  the  road,  rises 
the  jagged  crest  of  Montorfano,  near  a  lit  lie  lake.  Near  Cassano  (1325  ft.) 
is  a  leaning  cam|ianile.  Beyond  Albe^e  (1325  ft.)  we  enjoy  a  view  of  the 
Pian  (tErba,  with  the  lakes  (p.  171)  of  Alserio,  Pusiano,  and  Annone,  dom- 
inated on  the  E.  by  the  Corni  di  Canzo  (p.  178)  and  the  rugged  Resegom 
(p.  170).  —  11  M.  Erba,  and  thence  to  Bellagio,  see  p.  172. 

From  Como  to  Lkcco,  26  M.,  state- railway  in  I1/2-2  hrs.  (4  fr.  90, 
3  fr.  45,  2  fr.  20  c.).  —  3  M.  Albate- Camerlata,  see  p.  167;  7'/2  M.  Cantit; 
11  M.  Anzano  del  Parco.  To  the  left  lies  the  Logo  d'AUerio.  —  13'/2  M. 
Herone-  Pontenuovo ,  the  junction  of  the  Milan  and  Erba  line  (p.  172).  — 
15V2  M.  Casletto-Rogeno,  on  the  S.  bank  of  the  Lago  di  Pusiano.  —  I9V2  M. 


170   Route  24.  LECCO. 

Os/giono,  at  the  S.  end  of  the  Lago  d'Annone.  The  train  then  runs  along 
the  E.  bank  of  this  lake.  —  2I1/2  M.  Sola  al  Barro  is  the  station  for  the 
village  of  Oalhinte  (1215  ft.),  I'A  M-  to  the  E.,  the  best  starting-point  for 
an  ascent  of  "Mte.  Barro  (3023  ft).  A  good  bridle-path  (horse  S'/a  fr.,  incl. 
fee)  ascends  to  the  (2  hrs.)  'Mi.  di  Monte  Barro  (2790  ft.),  a  quiet  resort 
with  a  large  garden,  whence  a  walk  of  Vi  hr.  brings  us  to  the  top.  The 
magnificent  view  embraces  the  Brianzn.  (p.  171),  the  Lake  of  Lecco  (p.  178), 
the  Val  Sassina,  ;ind  its  mounlains.  The  descent  may  be  pleasantly  made 
to  (IV2  hr.)  Malgrcite  (p.  17l),  passing  a  finely  situated  pilgrimage-church.  — 
The  Lago  d'Annone  is  connected  with  ttie  Lake  of  Lecco  by  the  Ritorlo, 
the  course  of  which  we  follow  beyond  (22'/2  M.)  Civate.  The  jlte.  Resegone 
(see  below)  is  prominent  to  the  E.  —  '-'4  M.  Valmadrera.  The  train  then 
penetrates  a  tunnel,  crosses  the  wide  Adda,  and  reaches  (26  M.)  Lecco. 

From  Como  via  Vaeese  to  Laveno,  on  tbe  Lago  Maggiore,  3l'/2  M.,  rail- 
way (Ferrovie  Nord)  in  2-2Vi  hrs.  (fares  5  fr.  40,  3  fr.  85,  2  fr.  70  c.);  to 
Varese,  IS  31.,  in  I-IV4  hr.  (fares  3  fr.  10,  2  fr.  10.  1  fr.  55  c).  —  As  far  as 
(i'/i  M.1  Ora»fiale,  see  p.  165.  Our  line  runs  to  the  S.W.,  with  a  view  of 
Monte  Bisbino  (p.  174)  and  Monte  Genoroso  on  the  right.  We  descend  to 
(6  M.)  Lurate-Caccivio,  and  then  ascend  through  wood  (birch-trees,  etc.)  to 
(11  M)  Solbiate  Albiolo  (1460  ft),  the  highest  point  of  the  line.  In  (he  fore- 
ground appears  the  M.inte  Campo  de'Fiori  (p.  186).  —  15  M.  Malnate  (p.  188), 
the  junction  of  the  Milan  -  Saronno  -  Varese  line.  —  18  M.  Varese  (change 
carriages),  and  thence  to  (31'/2  M.)  Laveno,  see  p.  185  and  E.  29. 

From  Como  to  Monte  Oeneroso  and  Lugano,  see  pp.  16,  16. 


The  Railway  from  Monza  to  Lecco  skirts  the  S.E.  slopes  of  the 
beautiful  range  of  hills  of  the  Brianza  (p.  171).  —  I2Y2  M.  (from 
Milan)  Arcore  (630  ft.),  see  p.  167.  —  I51/2  M.  Vsmate-Carnate  is 
also  a  station  on  the  line  from  Seregno  to  Bergamo  (p.  167).  — 
I87.2  M.  Cernusco-Merate.  The  village  of  Merate  (945  ft.;  Albergo 
del  Sole),  1  M.  to  the  E.  of  the  station,  has  a  large  factory  (Stabill- 
mento  Gavazzi)  and  pretty  villas. 

From  Cernusco  a  pleasant  excursion  (1  hr.)  may  be  taken  to  the  lofty 
Uontevecchia  (1572  ft. ;  poor  Osieria.  but  good  wine).  The  church  of  Monte- 
vecchia  commands  an  excellent  view  ot  the  Lombard  plain,  Milan,  Cremona, 
Novara,  and  part  of  the  Brianza,  etc.  Pleasant  return-route  by  Missaglia, 
with  a  guide,  I1/4  hr. ;  thence  to  the  W.  to  (V2  hr.)  Monticello  (p.  167). 

21  M.  Olgiate-Molgora.  Beyond  a  tunnel  a  view  of  the  valley 
of  the  Adda  is  obtained  to  the  right.  The  train  descends,  crosses 
the  liver,  and  joins  the  Lecco  and  Bergamo  line  (p.  216)  at  (27^2  M.) 
Calolzio  which  is  magnificently  situated  at  the  foot  of  the  moun- 
tains, near  the  small  Lago  di  Olginate.  —  Thence  we  skirt  the  E. 
bank  of  the  Lago  di  Garlate  via  (28V2  M.)  Vercurago-San  Girolamo, 
which  lies  below  the  hill  of  San  Girolamo  (1340  ft.;  view),  with  a 
pilgrimage  -  church  and  a  ruined  castle.  30  M.  Maggianico,  with  a 
hydropathic  establishment. 

32  M.  Lecco.  —  Hotels.  "Ge.  Hot.  Lkcco  (Bellevue  auLac),  R.  2-4, 
B.  IV2,  dej.  3,  D.  4,  S.  3,  omn.  3/4  fr. ;  *HoT.  BIazzoleni,  R.  2-5,  B.  IV2, 
pens.  8,  omn.  1  fr.,  these  two  well  situated  at  the  pier,  with  steam-heating; 
Croce  di  Malta  ed  Italia,  Piazza  Garibaldi;  Alb.  alla  Stazionk,  near 
the  station,  unpretending.  —  Rail.  Reeianranl ,  clean.  —  Omn.  between 
the  station  and  the  pier  50  c.  (included  in  through  tickets). 

Lecco  (700  ft.)  is  an  industrial  town  with  10,400  inhab.  and  silk, 
cotton,  and  iron  manufactories,  at  the  foot  of  Mte.  Resegone  (6160  ft.), 


THE  BRIANZA.  25.  Route.    171 

ail  indented  dolomite  ridge,  and  at  the  S.  end  of  the  Lake  of  Lecco 
or  E,  arm  of  the  Lake  of  Como  (p.  178),  from  which  the  Adda  here 
emerges.  A  statue  of  Alessandro  Manzoni  (b.  in  Milan  1785, 
d.  1873),  the  poet  and  head  of  the  romantic  school,  by  Confalonieri, 
adorns  the  Piazza  Manzoni;  the  pedestal  is  decorated  with  reliefs 
from  Manzoni"s  'I  Promessi  Sposi',  the  scene  of  which  is  laid  in 
Lecco.  —  The  Ponte  Grande  (views),  a  stone  bridge  of  ten  arches, 
constructed  in  1335  by  Azzone  Visconti,  spans  the  Adda  to  the  S. 
of  the  town;  at  each  end  are  remains  of  fortified  towers.  Beyond 
the  bridge  the  road  forlis :  the  left  branch  leads  via  Pescate  and 
(Jarlale  to  Olginate,  on  the  Lago  di  Olginate  (p.  170);  the  right 
branch,  passing  the  village  of  Malyrate  (with  many  silk-factories) 
to  the  W.  of  Lecco,  leads  to  Como  (p.  167). 

Pleasant  walk  to  San  Girolamo,  see  p.  170.  Ascent  of  the  ^Monte  Sarro, 
.see  p.  170  (cair.  to  Galbiale  6,  with  two  horses  10  fr.).  —  Through  the  Val 
Sassina  to  Bcllano,  sec  p.  179. 

The  Railwat  from  Lecco  to  Colico  (run  by  electricity)  furnishes 
the  .shortest  route  between  Milan  and  Chiavenna  [Spliigen;  R.  4)  and  the 
Val  Tellina  (p.  180).  It  runs  along  the  E.  bunk  of  the  lake,  passing 
thrnugh  tunnels  and  over  viaducts.  Q^i.  Mandello-Tonzanico  {\>.  178);  10  M. 
Lierna  (p.  178)-,  IS'/s  M.  Perledo-Varenna  (p.  17S),  the  station  for  the  steamers 
on  the  Como  arm  of  the  lake;  L^'/z  51.  Bellano  (p.  179);  187«  M.  Dervio 
(p.  179).  —  24  JJ.  Colico,  see  pp.  18,  180. 

Steamer  from  Lecco  to  Cadennhhia  (Como),  see  p.  173.  —  Rail- 
way to  Bergamo,  see  p.  216. 


25.  From  Milan  to  Bellagio.   The  Brianza. 

Railwat  ( Ferrovie  Nord)  from  Milan  tj  (27'/2  M.I //jcireo-^'rfta  (starting 
from  the  Sta/.ione  Ferrovie  Nord ,  p.  128)  in  i'  2-2  hrs.  (fares  4  fr.  25, 
2  fr.  50,  1  fr.  60  c).  —  Higukoad  from  Erba  to  (ISV2  M.)  Bellagio. 

The  Brianza  is  the  undulating  tract,  between  the  Lambro  and  the  Adda, 
stretching  to  the  N.  to  the  so-called  .4W«  Brianza,  the  triangular  peninsula 
which  divides  the  Lago  di  Como  from  the  Lago  di  Lecco  (comp.  p.  174). 
Like  the  entire  region  as  far  as  the  Lago  Maggiore  it  is  occupied  by  the 
extreme  lower  skirls  of  the  Alpine  chain  (crefaeeous  limestone),  which 
are  overlaid  with  thick  glacial  deposits  as  the  glaciers  of  the  main  valleys 
here  came  to  an  end.  In  the  centre  are  several  small  lakes  (Lago  d''A>inone, 
Pusiiino,  Segrino,  Alserio,  and  Montor/a»o),  some  shallow  depressions  in 
the  limestone,  some  dammed  in  by  moraine  accumulations.  The  soil  is 
very  fertile,  and  the  whole  district  studded  with  villas  peeping  out  from 
vines,  orchards,  and  mulberry-plantations. 

The  Railway  from  Milan  to  Incino-Erba  traverses  a  well 
cultivated  plain.  As  far  as  (3  M.)  Bovisa  it  coincides  with  the  line 
to  Saronno  (p.  164).  —  41/0  M.  Affori,  with  a  parish-church  con- 
taining an  old  copy  of  Leonardo  da  Vinci's  'Vierge  anx  Rochers'. 
5'/o  M.  CormaThno-Brusuglio.  The  train  now  ascends  the  right  bank 
of  the  small  Seveso  as  far  as  San  Pietro.  —  10  M.  Varedo  (590  ft.). 
—  From  (131/2  M.)  San  Pietro  a  branch-line  diverges  to  (IV4  M.) 
Camnago  (p.  167),  a  station  on  the  St.  Gotthard  railway,  which  our 
line  crosses  near  (15  M.)  Meda.  —  Near  (IS'/o  M.)  Carugo-Qiussano 
the  country  becomes  hilly.  20  M.  Aro»io(985  ft.),  pleasantly  situated 


172    Route  25.  ERBA. 

amid  vine-clad  Mils,  some  of  wWch  are  crowned  with  Tillages  and 
country-houses.  —  21*/2  ^-  Inverigo  (1150  ft.),  a  pretty  village, 
above  the  valley  of  the  Lambro.  On  an  eminence  rises  the  Rotonda, 
one  of  the  finest  villas  in  the  Brianza.  The  Villa  Crivelli  is  famous 
for  its  cypresses.  —  Beyond  (23  M.)  Lambrugo  -  Lurago  the  train 
ascends  the  valley  of  the  Lambro.  —  25^2  ^-  Merone-Pontenuovo^ 
the  junction  of  theLecco  and  Como  line  (p.  169).  The  Lngo  d'Alserio 
is  passed  on  the  left  and  the  larger  Lago  di  Pusiano  on  the  right. 
The  train  enters  the  charming  plain  of  Erba  (Plan  d'Erba). 

27'/2  M.  Incino-Erba,  the  station  for  the  village  of  Incino  and 
the  small  town  of  Erba.  Incino,  the  ancient  Liciniforum,  is  men- 
tioned by  Pliny  along  with  Bergamo  and  Como ;  it  contains  a  lofty 
Lombard  campanile.  Erba  (1065  ft.;  Albergo  Buco  del  Piombo') 
lies  a  little  to  the  W.,  on  the  road  from  Como  to  Lecco,  built  on 
the  terraced  slopes  of  a  small  hill  in  a  fertile  region.  Among  the 
villas  on  the  N.W.  side  is  the  Villa  Amalia,  commanding  a  charm- 
ing view  of  the  Brianza.  —  From  Erba  to  Como,  see  p.  169. 

The  Highroad  from  Erba  to  Bbllagio  (about  19  M.)  crosses 
the  Lambro,  which  has  been  canalized  and  conducted  into  the  Lago 
di  Pusiano,  a  little  to  the  S.E.  Immediately  afterwards  the  route 
to  Bellagio  diverges  to  the  left  from  the  road  to  Lecco,  and  runs 
to  the  N.,  past  Longone  on  the  W.  bank  of  the  narrow  Lago  del 
Seyrino,  to  — 

5  M.  Canzo  (1270ft.;  Alb.  Canzo;  Croce  di  Malta),  which  is 
almost  contiguous  to  (IY4  M.)  Asso  (1394  ft.),  the  two  numbering 
together  2000  inhabitants.  At  the  entrance  of  Asso  is  a  large 
silk-manufactory  (Casa  Versa). 

The  road  now  gradually  ascends  in  the  wooded  ValV  Assina,  the 
upper  valley  of  the  Lambro,  passing  (2M.)  Lasnigo,  (2  M.)  Barni 
(2083  ft.),  and  Magreglio  (2415  ft.).  The  first  view  of  both  arms  of  the 
Lake  of  Como  is  obtained  from  the  eminence  near  the  (1  M.)  Chapel. 

Delightful  survey  of  the  entire  E.  arm  to  Lecco  and  far  be- 
yond, after  passing  the  first  church  of  (1  M.)  Civenna  f 2045  ft. ; 
Bellevue,  open  from  April  to  Oct.,  with  view-terrace;  Ristorante 
delta  Pasta,  with  bedrooms).  The  road  now  runs  as  far  as  (2  M.) 
Chevrio  alang  the  shady  brow  of  the  mountain,  which  extends 
into  the  lake  at  Bellagio.  Beyond  the  chapel  good  views  are  obtained 
of  the  W.  arm  of  the  lake  (of  Como),  the  Tremezzina  with  the 
Villa  Carlotta  and  Cadenabbia,  the  E.  arm  (Lake  of  Lecco),  a  large 
portion  of  the  road  and  electric  railway  on  the  E.  bank,  and  finally 
of  the  entire  lake  from  the  promontory  of  Bellagio  to  Domaso 
(p.  180),  and  far  below  the  Villa  Serbelloni  (p.  176). 

The  road  winds  downwards  for  about  2Vo  M.,  finally  passing  the 
Villa  Oiulia  (p.  177)  and  the  churchyard  of  Bellagio.  From  Civenna 
to  Bellagio  (p.  176),  2hr8'.  walk. 

A  longer  route,  which  will  reward  the  pedestrian,  is  by  the  "Monte 
San  Prima  (p.  177).  Ascent  from  Canzo  with  a  guide  in  4-5  hrs.,  descent 
to  Bellagio    3   hrs.  (fatiguing ,    over   debris). 


TJiamotra:  ^ 


,— .sc'y-..,    ■,'■1  -So,     \^  S      ,*  E        t=.  I       ^-rr        !P=^ 


(Itf  ir--^^>V  *«^-.  I 


»/*&. 


;  s 


SS;. 


reriSna  . 


173 


26.  Lake  of  Como. 


Plan  of  Excuraion.  The  Lakes  of  Como  and  Lugano  (p.  182)  and  (he 
Lago  Maggiore  (B.  30  may  be  visited  from  Milan  most  expeditiously  as 
follows:  by  the  St.  Gotthard  line  or  the  Saronno-Como  railway  in  1- 
I'/i  hr.  to  Como  (Cathedral);  proceed  by  steamboat  in  the  afternoon  in 
l'/2-2V<  1""S-  to  Cadenabbia  or  Bellagio,  the  latter  the  most  beautiful  point 
on  the  Lake  of  Como,  and  spend  the  night  there.  In  the  evening  and 
next  morning  visit  Villa  Carlotta  and  Villa  Serbelloni ;  by  steamboat  in 
1/4  Ur.,  or  by  rowing-boat,  to  Menaggio;  thence  by  railway  in  1  hr.  to 
Porleizay  in  time  for  the  steamboat  which  starts  for  Lugano  (p.  183),  arriving 
early  enough  to  leave  time  for  the  ascent  of  Monte  San  Salvatore.  From 
Lugano  by  steamboat  in  13/4-2  hrs.  to]  Ponte  Tresa  and  thence  by  steam- 
tramway  in  '/<  I""-  to  Luino;  steamboat  from  Luino  in  2V2-3'/2  hrs.  to  the 
Borromean  Islands  (Isola  Bella).  From  the  islands  we  may  proceed  in 
I'A'IV^  ^'■-  to  -^rona  and  return  by  railway  to  Milan  (l'/2  hr. ;  R.  2),  or 
we  may  return  by  steamer  to  (I-IV4  lir.)  Laveno  and  go  on  thence  by 
the  N.  railway  via  7arese  to  (lVi-2V4  hrs.)  Milan  (R.  29).  —  The  Circular 
TocK  Tickets  (see  p.  xvii)  issued  for  this  excursion  are  economical  and 
convenient.  Tour  No.  8  of  the  state  railways  (1st  class  28  fr.,  2nd  cl. 
24  fr.  3o  c.)  and  No.  1  of  the  Ferrovie  Kord  (20  fr.  50,  16  fr.  15  c),  both 
available  for  15  days,  follow  substantially  the  above  indicated  routes.  — 
TiiEouGH  Tickets  via  Como  or  via  Lecco  to  the  principEil  steamboat  stations 
are  issued  at  the  Central  Station  and  the  Agenzia  Internaziunale  (p.  l'^8) 
at  Milan.  —  The  Return  Tickets  issued  by  both  railway -systems  for 
Bellagio,  Cadenabbia,  and  Menaggio  (state-railways,  10  fr.  70,  8  fr.  70  c. ; 
Ferr.  Noid,  9  fr.  55,  7  fr.  85,  4  fr.  75  c.)  and  those  issued  by  the  Ferr.  Nord 
for  Colico  (12  fr.  50,  10  fr.  70,  6  fr.  40  c.)  are  valid  for  eight  days  and 
allow  the  steamboat  journey  to  be  broken  at  three  points. 

Steamboat  (comp.  p.  xviii)  four  times  daily  from  Como  to  Colico  in 
474-41/2  hrs.  (fares  4  fr.  15,  2  fr.  60  c);  six  times  daily  from  Como  to  Bel- 
lagio; four  times  daily  from  Cadenabbia  to  Lecco  in  li/i-l^J  ^^-  Some  of 
the  boats  are  handsome  saloon-steamers,  with  good  restaurants  on  board 
(dcj.  or  S.  3,  D.  4'/2  fr.).  —  In  the  following  description  the  stations  at  which 
there  is  a  pier  are  indicated  by  'P\  the  small-boat  stations  by  '1j\  and  the 
railway-stations  (comp.  p.  171)  by  'R'. 

Bowing  Boats  (barca,  pi.  barche).  First  hour  IV2  fr.,  each  additional 
hour  1  fr.  for  each  rower.  From  Bellagio  to  Cadenabbia  and  back  (or  vice 
versa),  each  rower  2'/?  fr. ;  Bellagio  to  Tremezzo,  Bellagio  to  Menaggio,  and 
Bellagio  to  Varenna  also  2'/2  fr.  each  rower;  Bellagio  to  Villa  Melzi,  Villa 
Carlotta,  and  back,  each  rower  3  fr.  —  One  rower  suffices,  unless  the 
traveller  is  pressed  for  time;  a  second  may  be  dismissed  with  the  words 
'basta  uno  !'  The  traveller  should  insist  upon  seeing  the  tariff  before  em- 
barking. When  travellers  are  not  numerous,  the  boatmen  readily  reduce 
their  demands.  In  bargaining  the  foUouing  phrases  will  be  found  useful: 
Quanta  rolete  per  una  corso  di  vrCora  (di  due  ore)  ?  Siamo  due  (ire,  quaitro) 
persone.  E  Ivoppo,  vi  daro  una  lira  (due  lire,  etc.).  In  addition  to  the 
fare,  it  is  usual  to  give  a  'mancia'  or  'buonamano^  of  V2  fr-  or  1  fr.  accord- 
ing to  the  length  of  the  excursion. 

Tlie  *Lake  of  Como  (650  ft.},  Italian  Lago  di  Como  or  II  Lario, 
tlie  Lacus  Larius  of  the  Romans,  is  extolled  by  Virgil  [Georg.  ii.  1 59 ), 
and  is  in  the  estimation  of  many  the  most  heautiful  lake  in  N.  Italy. 
Numerous  villages  and  the  gay  villas  of  the  Milanese  aristocracy, 
surrounded  by  luxuriant  gardens  and  vineyards,  are  scattered  along 
Its  banks.  In  the  forests  above,  the  brilliant  green  of  the  chestnut 
and  walnut  contrasts  strongly  with  the  greyish  tints  of  the  olive. 
The  mountains  rise  to  a  height  of  7875  ft.  The  lake,  from  Como 
to  the  N.   extremity,   is  30  M,  long;  its  greatest  width,  between 


174   Route  26. 


CERNOBBIO. 


Lake 


Menaggio  and  Vareiina,  nearly  21/2  M.;  total  area  60  sq.  M.  The 
Lago  di  Mezzola,  formerly  the  N.  bay  of  the  lake,  has  heen  separated 
from  it  by  the  only  large  delta  in  the  lake,  formed  by  the  deposits 
of  the  Adda  (p.  180).  In  the  middle,  at  the  Punta  di  Bellagio 
(p.  178)  the  lake  divides  into  two  branches,  called  respectively  the 
Lakes  of  Como  (W.)  and  Lecco  (E.).  The  Adda  enters  at  the  upper 
extremity  and  makes  its  egress  near  Lecco.  Owing  to  its  narrow 
bed  and  great  depth  (maximum  1345  ft.)  the  lake  resembles  a  fiord ; 
inundations,  as  at  the  Lago  di  Lugano,  are  not  uncommon.  —  The 
industrious  inhabitants  of  the  banks  of  the  lake  are  much  occupied 
in  the  production  and  manufacture  of  silk.  Tasteful  articles  in  olive 
wood  are  made  at  Bellagio. 

The  variegated  hues  of  the  oleanders  are  very  striking  in  summer. 
The  laurel  grows  wild  here.  —  The  lake  abounds  in  fish,  and  trout  (trote") 
of  20  lbs.  weight  are  occasionally  captured.  The  'Agoni'  are  small,  but 
palatable. 

The  prospect  from  the  quay  at  Como  is  limited ,  but  as  soon  as 
the  steamer  has  passed  the  first  promontory  on  the  E.,  the  Punta 
di  Oeno,  the  beauty  of  the  lake  is  disclosed  to  view. 


W.  Bank. 

Borgo  San  Giorgio  and  Villa 
I'Olmo,  see  p.  169. 

Villa  Tavernola,  beyond  the 
mouth  of  the  Breggia.  Villa  Cima, 
in  a  beautiful  park. 

Cernobbio  (P).  —  *Grakd  Hotel 
Villa  d'Este  et  Reinb  d'Angle- 
TEKRE,  with  lift  and  fine  park,  R. 
from  4,  B.  11/2,  dej.  31/241/2,  D.  5-7, 
pens.  10-16,  omn.  1  (from  Como  2)  fr., 
frequented  by  English  and  Americans 
(Engl.  Church  Serv.  on  Sun.).  —  "Hot. 
Reine  Olga,  with  small  garden,  R.  2- 
31/2,  B.  11/4,  dej.  3,  D.  4,  pens.  6-9  fr., 
incl.  wine ;  ^lb. Stella ;  Alb.Milano, 
R.  11/2,  B.  3/4,  D.  3,  pens.  5  fr.,  incl. 
wine,  Italian,  very  fair.  —  Omnibus 
and  Local  Steamer  to  Como,  see  p.  167. 

Cernobbio,  a  considerable  vil- 
lage, 21/2  M.  to  the  E.  of  Chiasso 
(p.  16),  is  surrounded  by  hand- 
some villas. 

The  Monte  Bisbino  (4390  ft.),  with 
a  pilgrimage-church  and  a  fine  view, 
is  easily  ascended  in  4  hrs.  from  Cer- 
nohbio  via  Rovenna  (1450  ft.)  and  the 
Monti  Madrona  (2755  ft. ;  inn). 

Villa  Volpi,  on  a  promontory 
extending  far  into  the  lake. 


Lake  of  Como. 

E.  Bank. 
Borgo  Sant'  Agostino  and  Bni- 
nate,  on  the  spurs  of  the  Monte 
Boletto,  see  p.  169. 


Blevio  (B),  beyond  the  Punta 
di  Geno,  with  many  villas. 

Villa  Taglioni,  formerly  the 
property  of  the  famous  danseuse 
Marie  Taglioni  (d.  1884);  Villa 
Ferranti,  once  the  residence  of 
the  celebrated  singer  Pasta  (d. 
1865);  Villa  Taverna. 


I 


of  Como. 


ARGEGNO. 


26.  Route.   175 


W.  Bank. 

Moltrasio  (P;  Ristor.  Caramaz- 
za;  Ristor.  Roma),  rising  in  ter- 
races on  the  steep  slope,  "with 
luxuriant  gardens. 

Local  Steamer  to  Como,  see  p.  167. 

LVio(P);  then  CaTateLario\V\ 
Hot.-Pens.  Lario,  R.  from  IV4, 
pens.  6-8  fr.),  Laglio,  and  Ger- 
manello,  all  with  attractive  villas. 
On  the  bank  of  the  lake  is  the 
pyramidal  tomb,  65  ft.  high,  of  Dr. 
Frank  of  Pavia  (d.  1842). 

Torrigyia  (P ;  Ristor.  Casarico) ; 
on  the  promontory  the  Villa  Cetli. 

Brienno  (P) ,  embosomed  in 
laurels.  Monte  Legnone  and 
Monte  Legnoncino  (p.  180)  are 
distinctly  visible  towards  the  N.E. 

Argegno  (P;  Alb.  Belvedere; 
Alb.  d' Argegno;  Ristor.  Spinelli, 
with  bedrooms),  at  the  mouth  of 
the  fertile  Intelvi  Valley. 

A  carriage-road  leads  hence  via 
Casliglione  d'Jntelvi  (1970  ft. ;  Alb.- 
Ristor.  Castiglionc)  and  San  Fedele 
d  Intelvi  ('^556  ft. ;  Alb.  San  Fedele, 
with  garden,  pens.  incl.  wine  6  fr.) 
to  Lanzo  ct Intelvi  (p.  183;  omn.  2-4 
times  daily,  2  fr.  80  c.)  in  one  direc- 
tion, and  in  the  other  to  Osteno 
(p.  183).  —  About  7  M.  to  the  S.W. 
of  Argegno,  on  the  slope  of  the  ;SaMo 
Oordona  (4620  ft.),  stands  the  Pensione 
Prabello  (3935  ft.;  open  May-Nov.). 

Colonno  (B') ;  then  <Saia(P),  op- 
posite the  small  island  of  Coma- 
cina^  frequently  mentioned  in  the 
annals  of  mediaval  warfare,  with 
the  small  church  of  San  Giovanni. 

Campo  (P  ;  lUstor.-Pens.  Gaii- 
dolfl).  On  the  Punta  d'Avedo,  a 
promontory  which  here  projects 
far  into  the  lake ,  glitters  the 
Villa  Arconati  (flue  *View). 

In  the  bay  lie  Leuno  (P;  Hot.- 
Pens.  Regina,  by  the  pier,  pens. 
5-8  fr.,  well  spoken  of;  ^4^6.- 
Ristor.  Brentani,  in  the  village), 
with  an  old  octagonal  baptistery, 


E.  Bank. 

Torno  (P;  Albergo  Belvedere; 
Ristor.  al  Vapore)  has  a  pretty 
church  and  is  surrounded  by  villas. 

Local  Steamer  to  Como.  see  p.  167; 
Road  to  Como,  see  p.  169. 

Villa  Pliniana  ,  in  the  bay  of 
Molina,  erected  in  1570  by  Count 
Anguissola,  is  now  the  property 
of  theMarchesaTrotti.  It  derives 
its  name  of  Pliniana  from  a 
neighbouring  spring  which  daily 
changes  its  level ,  a  peculiarity 
mentioned  both  by  the  younger 
and  the  older  Pliny. 

Riva  di  Palanzo  (P)  and  Pog- 
nana  (B);  then  Quarzano  and 
Careno. 

Nesso  (P),  at  the  mouth  of  the 
Val  di  Nesso ,  which  ascends  to 
the  Piano  del  Tivano  (3800  ft.), 
with  a  waterfall  in  a  narrow  gorge. 

Beyond  Cavagnola  we  obtain 
a  *View  of  the  Punta  d'Avedo 
and  Bellagio. 

Near  Lesseno  (P;  Osteria  del 
Grottino,totherightofthepier)i3 
oneof  the  deepestpartsof  the  lake. 
Farther  on  is  the  Grotta  del  Bulga- 
ro,  a  partly  artificial  cave,  scarcely 
accessible  except  by  boat  (adm. 
1  fr. ;  open  from  March  to  Nov.). 

San  Giovanni'  di  Bellagio  (Pj, 
with  a  church  contaitiing  an  altar- 
piece  by  Gaud.  Ferrari :  Christ 
in  glory,  with  saints  and  donors. 
The  beautiful  garden  of  the  Villa 
Trotti  combines  the  luxuriance 
of  a  S.  vegetation  with  English- 
like expanses  of  turf. 

Villa  Besana,  formerly  Poldi, 
contains  the  modern  mausoleum 
of  the  last  of  the  Gonzagas,  in 
the  form  of  a  round  Romanesque 
tower.  Fine  view.  Visitors  are 
admitted  to  the  beautiful  garden 
(gratuity). 


176   Route  26. 


CADENABBIA. 


Lake 


W.  Bank. 
and  Azzano  (P).     On  the   slope 
above,  Mezzegra. 

Tremezzo  (P).  —Hotels.  *Hot.- 
Pens.  Bazzoni  et  du  Lao,  R.  li/j  3, 
B.  I'/i,  lidj.  y,  D.  3,  pens.,  L.  extra, 
6-8  fr.;  '^  Hot. -Pens.  Villa  Counelia, 
with  restaurant,  pens,  from  6  (t.^ 
Hot.-  Pens.  Magatti  &  Belvedere, 
pens,  from  5  fr.,  well  spoken  of. 

Tremazzo  is  the  capital  of  the 
Tremezzlna,  a  beautiful  district 
justly  called  the  garden  of  Lom- 
bardy.  An  avenue  of  plane-trees, 
passing  the  Villa  Carlotta  (p.  177), 
connects  Tremezzo  with  Cade- 
uabbia,  which  practically  forms 
one  place  with  it. 

Interesting  excursion  (there  and 
back,  3-4  hrs.)  by  Lenno  (p.  175)  to 
Santa  Maria  del  Soccorso  (1875  ft.  ; 
inn),  a  'Mount  Calvary'  with  beauti- 
ful view ;  return  by  Mezzegra. 

Cadenabbia.  —  Hotels  (many 
English  visitors;  the  first-mentioned 
are  closed  from  the  end  of  Nov.  to 
the  end  of  Feb.).  "Bellevde,  ad- 
joining the  Villa  Carlotta,  with  shady 
grounds  on  the  lake,  R.  from  5, 
B.  11/2,  dej.  4,  D.  5-7,  pens,  from 
12'/-.!  fr.  ;  'Britannia,  with  garden, 
R.  21/2-5,  B.  11/4,  dej.  3,  D.  5,  pens. 
8-12  tr.;  'Belle-Ile,  R.  2-3i/2,  B.  11/4, 
dej.  21/2,  D.  4,  pens.  7-10,  omn.  1/2  fr. ; 
Hot. -Pens.  Cadenabbia,  R.  2V2  3, 
B.  11/2,  dej.  3,  D.  4,  pens.  7  9  fr., 
Italian,  very  fair.  These  three  are 
situated  to  the  K.  of  the  pier,  on 
the  Menaggio  road.  —  English  Church, 
with  services  from  March  to  No- 
vember. 

Cadenabbia ,  a  small  place  In 
the  parish  of  Griante,  1/2  M.  to 
the  N.E.  of  Tremezzo  and  2  M. 
to  the  S.  of  Menaggio  (omnibus 
at  the  railway  station),  lies  in  the 
warmest  and  most  sheltered  sit- 
uation on  the  Lake  of  Como.  — 
In  the  vicinity  (S.W.),  on  the 
road  (see  above)  along  the  shore  to 
Tremezzo,  stands  the  *'Villa  Car- 
lotta,  formerly  Sommariva.  In 
1843  it  came  into  the  possession 


E.  Bank. 

Villa  Melzi,  see  p.  177. 

Bellagio.  —  Hotels  (the  first 
mentioned  are  closed  from  the  end 
of  Nov.  to  the  end  of  Feb.).  'Grande 
Buetagne,  frequented  by  the  English, 
with  lift,  large  park,  and  English 
church,  R.  4-10,  B.  IV2,  dej  3'/2-4V2, 
D.  5-7,  pens.  12-18,  omn.  3/4  fr. ; 
■Grand  Hotel  Bellagio,  with  shady 
garden  on  the  lake,  R.  5-10,  B.  IV2, 
d(5j.3i/2,  D.  5,  pens.  10-18,  omn.  3/4  fr, 
variously  judged,  with  the  de'pend- 
ance  Villa  Serbelloni  (see  below; 
similar  charges).  —  *Genazzini  et 
MiiTROPOLE,  also  beautifully  situated 
on  the  lake,  with  lift,  restaurant, 
and  small  garden,  R.  3-5,  B.  I'/x, 
ddj.  2V2-3,  D.  4-41/2,  pens.  9-11  fr. ; 
"Hotel-Pension  Florence,  R.  2'/2-5, 
B.  IV2,  dej.  21/2,  D.  4,   pens.  7V2-11, 

omn.    1/2   Ir.  ;    'Sl'LENDIDE   HOTEL    DES 

Etrangers,  R.  3-5,  B.  IV2,  dej.  3, 
D.  4,  pens.  8-12  fr. ;  both  with  lift, 
steam -heating,  Munich  beer,  and 
small  garden  on  the  lake.  —  Of  less 
prelension:  Hot.  du  Lac,  R.  from 
2'/2,  B.  IV2,  d(=j.  21/2,  I>.  31/2,  pens.  8- 
10  fr.,  very  fair;  Hot. -Restaurant 
Suisse,  R.  2-3,  B.  1,  D.  3V2,  S.  2, 
pen.^.  6-7  fr. 

CAFfi-RESTAURANT,  Cufi  Bdla  Ve- 
nezia,  near  the  pier ;  Ristorunle  Bel- 
vedere (with  bedrooms),  on  the  way 
to  the  Villa  Giulia. 

Post-Office  at  the  S.  end  of  the 
town.  —  Telegraph  Office  in  the 
garden  of  the  Gr.  Hot.  Bellagio. 

Lace,  Silk  Ooodt,  and  Olive-wood 
Carvings  at  numerous  shops. 

Lake  Baths:  Bagni  Volta  (1  fr.), 
with  view -terrace  (cafd),  near  the 
Villa  Melzi,  1/4  M.  to  the  S.  of  the  pier. 

Rowing  Boats,  see  p.  173. 

English  Church  (April-Oct.)  in  the 
grounds  of  the  Grande  Bretagne. 

Bellagio  (710  ft.),  a  small  town 
with  llOOinhab.,  at  theW.  base 
of  the  promontory  which  separates 
the  Lake  of  Como  from  the  Lake 
of  Lecco,  is  perhaps  the  most 
delightful  point  among  the  lakes 
of  Upper  Italy.  —  A  road  and  a 
steep  lane  (beginning  behind  the 
Hot.  Genazziiii)  ascend  through 
the  town  to  the  — 

*Villa  Serbelloni  (adm.  1  fr., 
free  for  guests  of  Hot.  Bellagio; 


of  Como. 


BELLAGIO. 


26.  Route.   177 


W.  Bank. 
of  Princess  Albert  of  Prussia, 
after  whose  daugliter  Charlotle, 
Duchess  of  Saxe-Meiuiiigeu  (^d. 
1855),  it  is  named.  The  Duke  of 
Saxe  -  Meiningen  is  the  present 
proprietor  (accessible  from  8  to  5, 
door  opened  every  1/2  ^r>  j  V2  ^'^• 
each  pers.). 

Intkuiok.  The  Maeble  Hall  con- 
tains the  celebrated  *Reliefs  by  Tlior- 
valdsen ,  representing  the  Triumph 
of  Alexander.  This  frieze  was  lir;*! 
reproduced  in  i)laster  for  theQuirinal 
in  1811,  in  honour  of  Napoleon;  for 
this  marble  replica  a  sum  of  over 
14,000i.  was  paid  by  Count  Somma- 
riva  in  1828.  Also  several  statues  by 
Canova  (Cupid  and  Psyche,  Magdalen, 
Palamedes,  Venus);  Cupid,  by  Bien- 
aiiiti,  etc.  —  The  Billiaiid  Room 
contains  a  small  frieze  in  marble  on 
the  chimney-piece  representing  a 
Bacchanalian  procession,  said  to  be 
an  early  work  of  Thorvaldsen. 

The  'Gauden  contains  the  most 
luxuriant  vegetation;  on  the  S.  side 
of  the  Villa  is  a  splendid  magnolia; 
pleasant  view  towards  Bellagio  from 
the  thick  shrubbery  at  the  S.  end 
of  the  garden. 

Behind  Cadenabbia  rises  the 
rock  of  11  Sasso  di  San  Mariino. 

Ualfway  up  stands  the  Madonna 
di  San  Martino,  a  small  church,  com- 
manding a  beautiful  view ;  ascent 
I'/v!  hr.  (we  proceed  via  Grianle  to 
the  f^mall  chapel  of  San  Jiocco  and 
then  follow  the  paved  track). 

The  Monte  Crocione  (5370  ft),  a 
more  lofty  mountain  to  the  W.,  com- 
mands a  striking  view  of  the  Lake 
of  Como  and  Bellagio  (a  fatiguing 
ascent  of  31/2-4  hrs. ;  guide  5  fr. ;  in 
order  to  avoid  the  heat  the  traveller 
should  start  at  2  a.m.).  A  finer  view 
of  the  Alps  of  Valai.s  is  obtained  from 
the  =Monte  Galbiga  (5i;00  ft.),  to  the 
W.,  which  may  be  reached  in  50  min. 
from  Monte  Crocione  by  following 
the  crest.  From  Monte  Galbiga  we 
may  descend  via  the  Ponna  Alp  to 
(3  hrs.)   Osteno  (p.  183). 


Bauokkek.     Italy  I.    13th  Kdit. 


E.  Bank, 

hotel,  see  p.  176),  the  park  of 
which  extends  to  the  head  of  the 
promontory.  Charming  glimpses 
of  Varenna,  Villa  Arconati,  Villa 
Carlotta,  etc. 

Tlio  Villa  La  Boyssonade  (adm. 
10-12  and  2-5,  V2  Ir.)  and  the 
Villa  Belmonte  (adm.  Y2  ^r.), 
command  other  fine  views. 

The*VillaMelzi,  on  the  Como 
arm  of  the  lake,  1/2  M.  to  the  S. 
of  Bellagio,  was  erected  by  Alber- 
tolli  in  1810-15,  for  Count  Melzi 
d'Erile  (1753-1816),  who  was 
made  Duke  of  Lodi  by  Napoleon 
in  1807.  It  now  belongs  to  the 
Duchess  of  Melzi,  and  possesse.s 
numerous  works  of  art  and  a 
splendid  garden  (adm.  Thurs.  & 
Sun.,  1  fr. ;  entr.  by  S.  gate). 

On  the  Civeuna  road  (p.  172), 
about  1  M.  to  the  S.  of  the  lower 
entrance  to  the  Villa  Serbelloni, 
beyond  the  cemetery,  we  reach  a 
blue  iron  gate  on  the  left,  leading 
to  the  Villa  Giulia,  the  property 
of  Count  Blome  of  Vienna,  with 
beautiful  *6ardens,  famous  for 
their  camellias  in  spring  (adm.  on 
Sun.  and  holidays  only  ;  feeV-ifJ"-)- 

A  pleasant  "Kxcursion  may  be 
taken  hence  to  C/ieerio  or  Civenna 
(p.  172),  either  by  road,  passing  the 
Villa  Qiulia  (to  Civenna  2V2lirs.; 
onehor.'ie  carr.  8  fr.,  3  hrs.  there  and 
back),  or  from  the  steamboat-stations 
of  Litnonta  and  Vassena  (p.  178). 

The  highly  inture.sling  ascent  of  the 
Monte  San  Primo  (o5:iO  ft.)  may  be 
made  in  d'/n  hrs.  from  Bellagio  (guide 
10  fr.,  not  indispensable).  The  route 
leads  past  the  Villa  Giulia  and  Casate, 
and  forks  at  (2  hrs.)  a  chapel.  We 
follow  the  narrow  road  to  the  right 
to  the  Alpe  del  Borgo,  whence  a 
footpath  leads  to  the  (2'/2  hrs.) summit, 
on  which  is  an:fuge-hut.  Magnificent 
view  of  the  Lake  of  Como  and  the 
Brianza,  backed  by  a  grand  moun- 
tain-panorama. Uhede.scent  maybe 
made  to  Camo  (p.  172). 

12 


178  Route  26. 


MENAGGIO. 


Lake 


The  promontory  of  Bellagio  ends  in  tlie  Punta  di  Bellagio,  where 
the  S.W  and  S.E.  arms  of  the  lake  unite  (comp.  p.  174). 

The  latter,  the  Lago  di  Lecco  (I21/2  M.  long),  though  inferior  to  the 
other  in  picturesqueness  and  luxuriance  of  vegetation,  presents  grander 
mountain  scenery.  The  E  bank  is  skirted  by  the  railway  mentioned  at 
p.  171.     Steamers  from  Cadenabbia  to  Lecco,  see  p.  173. 

The  steamer  rounds  the  Ptmia  di  Bellagio  (see  above).  To  the  left, 
Lierna  (P.  and  R. ;  Ristor.  Lierna),  at  the  foot  of  the  abrupt  Cima  Palagia 
(5080ft.).  Fine  view  towards  the  N.  —  Right:  Limonta  (B.  -,  Pens.  Cervieri, 
R.  11/2,  pens  6V'2  fr.,  Italian,  very  fair;  Trattoria  del  Portu),  the  station  for 
Chevrio  (p.  172).  Vassena  (B.I,  the  station  for  (3  M.)  Civenna  (p.  172),  and 
Onno(P. ;  Alb.  del  Porto).  Left:  Olcio  (K.),  and  Mandello  (_V .  <fe  R. ;  Ristor. 
della  Torre),  on  a  delta  runniuj;  far  out  into  the  lake  at  the  foot  of  ilte. 
Qi'igna  Meridionale  or  Mte.  Oampione  (7165ft.);  Abbadia  (B.  &  R.),  at  the 
mouth  of  the  Yal  Gerona.  On  the  W.  bank,  at  the  base  of  the  Corni  di 
Canzo  (4500  ft.),  are  several  cement-furnaces.  U[iposite  Lecco,  to  the  right, 
lies  Pare,  situated  at  the  mouth  of  the  Rilorto  (p.  170)  and  separated 
from  Malgrate  (p.  171)  by  the  promontory  of  San  Dionigio.  The  lake  now 
contracts  to  the  width  of  the  Adda.  —  Lecco  (P.  &  R.),  see  p.  170. 

On  the  chief  arm  of  the  Lake  of  Como,  as  we  proceed  towards 
Colico,  the  first  steamhoat-stations  are  Menaggio  (^W.  hank)  and 
Varenna  (E.  hank). 


W.  Bank. 

Menaggio(P).— Piers.  One,  the 
Pontile  Ferrovia,  to  the  S.,  beside  the 
Hotel  Menaggio,  for  the  Steam.  Tram- 
way to  Porlezza  (Lugauo;  see  p.  182)  ; 
another,  the  Pontile  Comunale,  beside 
the  Hotels  Victoria  and  Corona. 
Hotel-omnibuses  at  both. 

Hotels  (many  English  visitors). 
*Gkand  Hotel  Victoria,  R.  5-7, 
B.  l'/2,  dej.  31/2,  D.  5,  pens.  8-13  fr. 
(English  Church  Service);  "Gkand 
Hot.  Menaggio  (closed  from  15th 
Nov.-28th  Feb.),  R.3-6,  B.  I1/2,  dej.  3, 
D.  5,  pens.  7-11  fr.,  both  with  lifts 
and  gardens  on  the  lake.  —  Corona, 
Italian,  very  fair,  R.  IV2,  D.  3,  pens. 
U  fr.,  incl.  wine.  —  Ristorante  Bella- 
visla  (with  bedrooms);  Ristorante 
Belvedere ,  Cafi  -  Restattrant  Olivedo, 
both  plain. 

Menaggio  (1700  inhah.),  with 
an  extensive  silk  manufactory, 
commands  a  fine  view  of  Bellagio. 
On  the  lake,  to  the  S.  of  the  vil- 
lage, is  the  handsome  Villa  My- 
lius.  —  A  good  road ,  diverging 
to  the  right  from  the  Cadenabhia 
road,  ascends  in  windings  to  the  N. 
to  (1/2  hr.)  Loveno  Superiore,  near 
tlie  church  of  which  stands  the 
Villa  Vigoni,  commanding  a 
magnificent    view    of   Menaggio, 


E.  Bank. 

Varenna  (^P  &R;  *H6t.  Royal, 
in  an  open  situation,  B.  11, 21 
d^j.  31/2,  1).  5,  pens,  from  10  fr., 
many  English  visitors;  Alb.  Vil- 
toria,  R.  1-21/2,  pens.  5-71/2  fr.; 
Alb.-Ristor.  Olivedo,  at  the  pier, 
both  unpretending)  is  charmingly 
situated  on  a  promontory  sur- 
rounded by  gardens,  at  the  mouth 
of  the  Val  d'Esino.  The  railway- 
station  is  1/4  M.  from  the  pier 
(omn.  30  c).  In  the  vicinity  both 
road  and  railway  pass  through 
several  tunnels.  Most  of  the 
marble  quarried  in  the  neigh- 
bourhood is  cut  and  polished  in 
the  town. 

About  3/4  M.  to  the  S.  of  Varenna 
the  Fiume  Latte  ('milk  brook',  from 
its  colour)  is  precipitated  in  several 
leaps  from  a  height  of  1000  ft.,  form- 
ing an  imposing  cascade  in  spring, 
but  generally  dried  up  at  other 
seasons.  —  The  ruins  of  Torre  di 
Vezio,  beside  the  high-lying  hamlet 
of  Vezio  (Vz  hr.),  command  a  beauti- 
ful view. 

From  Varenna  a  fatiguing  foot- 
path leads  past  Regoledo  (p.  179) 
and  above  the  Orrldo  di  Dellano 
(p.   179)  to  (I3/4  hr.)  Bellajw  (p.  179). 


of  Como. 


BELLANO. 


26.  Route.    179 


W.  Bank. 

Bellagio,  and  of  the  three  arms 
of  the  lake  (apply  to  the  gardener ; 
fee  1  fr.).  The  garden- saloon 
contains  a  relief  by  Thorvaidsen 
and  a  group  in  marble  by  Argenti. 
—  Adjacent  are  the  Villa  Massimo 
d^Azeglio  and  the  VillaUarovaglio. 
From  the  Villa  Vigoni  a  good 
footpath  leads  viii  the  villages  of 
Plesio  (1905  ft.)  and  Breglia  (24G5  ft.) 
to  (I'/a  hr.)  the  church  of  Madonna 
delta  Breglia,  commanding  an  e.xten- 
sive  view.  From  Breglia  we  may 
descend  by  a  steep  path  io  Acqua$eria 
(sou   below). 

A  new  *lvoad,  mostly  in  shade 
in  the  afternoon,  leads  to  the 
N.E.  from  Menaggio,  skirting  the 
(20  mill.)  quiet  bay  of  Nohiallo, 
the  station  of  the  Como  'torpedo 
boats'  (p.  234),  and  then  travers- 
ing five  tunnels  in  the  yellowish- 
brown  clifif ,  the  Sasso  Rancio 
('orange  -  rock'),  to  (40  min.) 
Acquaseria  (see  below).  The  Rus- 
sians under  Bellegarde  marched 
by  this  route  in  1799  along  the 
old  dangerous  footpath  over  the 
rock,  but  suffered  heavy  losses. 

Acquaseria  (P;  Alb.  Milano, 
on  the  road,  plain  but  good; 
Cafft-Riitorante  Gabbani,  at  the 
pier,  unpreteniling),  with  a  hat 
factory,  is  the  chief  village  in  the 
commune  of  Sant^  Abbondio. 

Rezzonico  (B)  h;is  a  restored 
castle  of  the  13th  century. 

Cremia  (Pj,  with  the  handsome 
church  of  San  Michele  (altar- 
piece,  *St.  Michael,  by  Paolo  Ve- 
ronese). The  old  church  of  San 
Vito  contains  a  line  Madonna  and 
angels  by  Borgognone. 

Then  PiantUo  (P). 

Ou  rocks  rising  precipitously 
above  Musso  (B)  is  situated  the 
ruiiitd  castle  of  Rocca  di  Musso, 
the   residence  of  Giov.  Giac.  de' 


E.  Bank. 
The  Monte  Grigna  Settentrionale 
(7905  ft.)  13  a  very  fine  point.  From 
Varenna  a  bridle-path  loads  on  the 
rif^ht  bank  of  the  EHno  via  Perledo  to 
(21/2  hrs.)  Esino  (2995  ft. ;  Alb.  Monte 
Gddeno,  inexpensive),  prettily  situat- 
ed. Thence  (guide  desirable,  7  fr.) 
to  the  Alp  Oainallo  IV2,  Alp  Monco- 
dtno  l'/2,  Capannu  Monza  (ca.  6235  ft.) 
'/2  hr.,  and  to  the  top  {Capanna  Grigna 
Vetta  of  the  Ital.  Alpine  Club,  inn) 
in  2  hrs.  more  (the  last  part  rather 
trying).  Superb  view  of  the  whole 
Alpine  chain  from  the  JIte.  Viso 
to  the  Ortler  (the  Bite.  Eosa  group 
particularly  fine),  and  of  the  plains 
of  Lombardy  to  the  distant  Apen- 
nines. We  may  descend  to  the  W. 
(steep)  to  the  club -hut  Capanna 
Releccio  (5625  ft.)  in  the  Val  Meria, 
and  to  Mandello{\>.  178),  or  to  the  E.  to 
Fasturo  in  the  Val  Sassi7>a  (see  below). 

From  Regoledo  (R),  on  the  road 
between  Varenna  and  Bellano, 
a  cable-railway  (940  yds.  long) 
runs  iu  summer  (return  -  fare 
11/4  fr.)  to  the  Grand  Hotel  Rego- 
ledo (1425  ft. ;  with  lift  and 
hydropathic  establishment,  pens. 
8-12  fr.). 

Bellano  (P  &R;  Hotel-Restau- 
rant Tommaso  Grossi,  Alb.  Porta, 
both  on  the  lake)  has  2300  inhab. 
and  considerable  factories.  By  the 
pier  is  a  monument  to  Tom.  Grossi 
(1790-1853),  the  poet,  who  was 
born  at  Bellano,  A  street  leads 
hence  to  the  (8  min.)  station 
(p.  171).  Behind  Bellano  is  the 
Orrido  di  Bellano,  a  picturesque 
rocky  gorge  in  which  the  Pioverna 
forms  two  waterfalls  (adra.  1/2  fr-)* 

A  narrow  road  leads  through  the 
Val  Sassina,  which  opens  at  Bellano, 
via  Taceno  (1663  ft. ;  near  it,  the 
litlle  mineral  bath  uf  Tartavalle)  to 
Corienova  (1578  ft.)  and  thence  via 
Inlrobio  (1920  ft.;  in  the  vicinity, 
Ihc  line  waterfall  of  the  Troggia)  to 
Leoco  (p.  170). 

Dervio  (B  &  U),  at  the  mouth 
of  the  Varrone,  is  situated  at  the 
base     of     the     Monte     Legnont 
12* 


180  Route  26. 


GRAVEDONA. 


W.  Bank. 

Medici  in  1525-32,  'the  Castellan 
of  Musso',  who  from  this  spot 
rnled  over  the  entire  Lake  of 
Como. 

Dongo  (P),  a  large  village  in  a 
sheltered  situation. 

Gravedona  (P;  Hot.  d' Italic; 
Hot.  Victoria),  with  1200  inhah., 
is  situated  at  the  mouth  of  the 
gorge  of  the  Lira.  The  handsome 
Palazzo  del  Pero  with  four  towers, 
at  the  upper  end,  was  built  in 
1586  by  Pellegrino  Tibaldi  for 
the  Milanese  Cardinal  Tolomeo 
Gallio.  Adjoining  the  venerable 
church  of  San  Vincenzo,  contain- 
ing two  Christian  inscriptions  of 
the  5th  cent.,  rises  the  Baptistery 
of  Santa  Maria  del  Tiglio,  an  in- 
teresting building  of  the  12th 
cent.,  with  campanile. 

A  bridle-path  leads  to  the  W. 
through  the  Val  di  Oravedoiia ,  over 
the  Passo  San  Jorio  (6420  ft.),  and 
down  through  the  Val  Marobbia  to 
(10  hrs.)  Bellinzona  (p.  8).  Provisions 
and  guide  necessary  (no  inn  en  route). 

Domaso  (P)  possesses  several 
handsome  villas.  — Finally  Oera 
(B). 

From  Colico  to  Chiavenna,  and 


E.  Bank. 
and  its  spur,  the  Monte  Legnon- 
cino  (5625  ft.). 

'Monte  Legnone  (85C5  it.),  the 
highest  mountain  of  Lombardy,  may 
be  ascended  hence  in  7  hrs.  (with 
guide;  not  difficult  and  very  interest- 
ing). Bridle-path  to  (li/z  hr.)  Sueglio 
(2580  ft.;  Osteria  Bretagna,  plain  but 
good)  on  the  slope  of  Mte.  Legnou- 
cino,  and  thence  (red  way -marks) 
via  Arlesso  to  the  (2  hrs  )  Rifugio 
RdccoH  Lorla  of  the  Italian  Alpine 
Club  (4800  ft.;  good  accommodation), 
on  the  faddle  between  Legnone  and 
Legnoncino,  with  a  tine  view;  thence 
to  the  (2  hrs.)  Capanna  Legnone 
(7010  ft. ;  no  beds)  and  the  (11/4  hr.) 
.''ummit,  with  magnificent  view.  — 
The  ascent  on  the  N.  side,  from 
Delebio  (see  below),  is  easier.  A 
bridle-path  leads  through  the  Vul 
della  Leiina  to  the  (4  hrs.)  Alp  Cap- 
pello  (4993  ft.),  and  thence  across  the 
Boccheila  di  Legnone  to  the  (ci-3V2hrs.) 
summit. 

Corenno  (Plinio),  with  a  ruined 
castle;  Dorio  (R.);  Olgiasca.  — 
Piona  (R.),  on  the  bay  named 
Laghetto  di  Piona. 

Colico  (P  &  R),  comp.  p,  18. 


over   the  Spliigen  to  Coire,   see  R.  4. 


From  Colico  to  the  Val  Tellina  and  Bormio. 

Fkom  Colico  to  Tieano,  41'/2  M.,  electric  railwav  (continuation  of  the 
Lecco  and  Colico  line,  p.  171),  in  2-21/2  hrs.  (fares  7  fr.  80,  6  fr.  50,  3  fr.  55  c). 
From  Tikano  to  Bormio,  25'/2  M.,  diligence  twice  daily  in  5  hrs.  (4fr.80c.). 
—  Keturn- tickets  (valid  for  a  month)  from  Milan  to  Tirana,  28  fr.  95, 
22  fr.  35,  16  fr.  90  c;  to  Bonnio,  43  fr.  tiO,  37  fr.,  31  fr.  55  c. 

The  Val  Tellina,  which  is  watered  by  the  Adda  and  traversed  by  a 
railway  and  a'  road,  is  one  of  the  main  longitudinal  valleys  in  the  Alps, 
separating  the  central  chain  from  the  Bergamasque  Alps  (p.  213).  It  be- 
longed to  the  Grisons  down  to  1797,  then  to  Austria,  and  since  1859  has 
been  united  to  Italy.  The  inundations  of  the  river  often  cause  lasting 
damage  by  scattering  d^hris  from  its  broad  gravelly  channel  and  make 
the  lower  part  of  the  valley  marshy  and  unhealthy.  An  aromatic  red  wine 
is  yielded  by  the  vines  on  the  slopes  of  the  valley. 

The  Railway  to  Sondrio  runs  to  the  E.  from  Colico  to  (41/2  M.)  Delebio, 
on  the  Leiina  (ascent  of  Mte.  Legnone,  see  above).  —  8  M.  CoHo-ValtelUno- 
Traon(i.  —  10  M.  Morbegno  (850  ft. ;  Ancora;  Bellini),  with  3600  inhab.,  has 
a  church  of  the  17th  cent,  with  a  few  good  pictures.     It  lies  at  the  mouth 


TIRANO.  26.  Route.   181 

of  the  Val  del  Bitto  di  Alvaredo,  through  which  a  hridle-path  leads  to  the 
Val  Bremhana  (p.  215).  In  the  vicinity  is  the  generatinp-station  of  the 
railway.  —  14  M.  Ardenno-Masino,  on  the  right  bank  of  the  Adda,  at  the 
mouth' of  the  Val  Masino  (see  Baedeker''t  Switzerland).  —  We  cross  the  Adda 
to  (19V2  M.)  San-  Fieiro-  Berbenno  (to  Branzi  in  the  Val  Brembana,  see 
p.  215).  —  Farther  on  the  train  skirts  the  hill  of  Sassella,  noted  for  its 
wine  and  crowned  with  a  church. 

25'/2  M.  Sondrio  (1140  ft.  ;  'ffdt.  de  la  Paste,  with  restaurant  and  garden, 
R.  2'/2-5,  B.  l'/2,  pens.  7-10,  omn.  '/a  fr. ;  Alb.  delta  FerroHa,  opposite  the 
station,  with  garden,  well  spoken  of;  Alb.  Maddalena;  IHstor.  Marino,  with 
hedrooois,  very  fair;  omn.  between  the  station  and  ihe  lown  '/z  fr.),  the 
capital  of  the  Val  Tellina,  with  4100  inhab.,  situated  on  the  brawling 
A/alero,  produces  excellent  wine.  Owing  to  its  mild  climate,  Sondrio  is 
mnch  frequented  as  a  'transition-station'  in  spring  and  autumn.  The  old 
castle  of  Ihe  bailiffs  is  now  a  barrack;  and  the  former  nunnery  is  now 
private  property.  —  To  the  Val  Malenco  and  ascent  of  the  Monte  della 
Disgrazia.,  see  Baedeker  t  Stcitzerland. 

The  railway  to  Tirano  proceeds  via  (28V2  M.)  Tresivio.  About  IV2  M. 
to  the  N.  of  (307?  M.)  Ponte  is  the  village  of  that  name,  witli  a  Madonna 
in  fresco,  by  Luini,  over  the  W.  door  of  the  church.  —  Beyond  (BS'/z  M.) 
San  Oiacomo,  on  the  mountain-ridge  (views)  to  the  left,  lies  the  small  and 
ancient  town  of  Tegho  ('iStJO  ft. ;  Alb.  Combolo).  with  a  ruined  castle,  the 
handsome  Renaissance  Palazzo  Berta  (16th  cent.),  and  the  church  of  San 
Lorenzo,  with  frescoes  by  Ferma  Stella  of  Caravaggio  (1538).  Teglio  gives 
its  name  to  the  valley  (Val  Teglino).  At  (36  M.)  Tresenda  (123b  ft. ;  Alb. 
Ambrosini,  moderate)  the  road  over  the  Passo  d'Aprica  diverges  to  the 
right  (p.  227;  from  Tresenda  to  the  Val  Seriana,  see  pp.  216,  215). 

411/2  M.  Tirano  (1410  ft.;  ''ffdt.  Tirano,  at  the  station,  with  steam-heat- 
ing anil  garden,  R.  from  2V2,  B.  V/i,  pens,  from  9,  omn.  V2  f""- ;  Albergo 
della  Potla ;  Alb.  PHmavcra,  R.  1  fr.,  unpretending,  etc.),  a  small  town  of 
3500  inhab.,  exposed  to  damage  from  tlie  floods  of  the  Adda.  It  contains 
old  mansions  of  the  Visconti,  Pallavicini,  and  Sails  families.  —  About 
1  M.  to  the  N.W.  of  Tirano  is  Madonna  dl  Tirano  {^Albergo  San  Michele, 
R.  3,  B.  1  fr.),  a  small  village  with  a  large  and  handsome  pilgrimage-church, 
built  about  15U5  by  Tomm.  Rodari  anil  others.  The  elaborately  carved 
screen  dates  from  the  18th  century.  —  Hence  to  Potchiai'o,  and  over  the 
Bemina  Pats  lo  Pontresina  and  Samaden,  in  the  Upper  Engadine,  see  Baedeker's 
Stcitzerland.  The  Swiss  frontier  lies  only  about  '*/t  M.  to  the  N.W.  of 
Sladonna  di  Tirano. 

The  High  Hoad  to  Bokmio  ascends  along  the  vine-clad  slopes  to  Sernio 
(2083  ft.).  To  the  N.  rises  the  precipitous  Monte  Masuccio  (9240  ft.),  a  land- 
slip from  which  in  1807  blocked  up  the  narrow  channel  of  the  Adda,  and 
converted  the  valley  as  far  as  Tovo  into  a  vast  lake.  At  (6  M.)  Mazzo  the 
road  crosses  to  the  right  bank  of  the  Adda,  and  beyond  Grosotfo  (1970  ft.; 
Alb.  Pini)  it  crosses  the  Boasco,  which  here  issues  from  the  Val  Orosina 
(■tee  Raedeker's  Eastern  Alps).  To  the  left,  at  the  mouth  of  the  latter,  is 
the  imposing  mined  castle  of  Venoxta.  Beyond  Grosio  the  road  recrosses 
to  the  left  bank.  —  6  M.  — 

12  M.  BoUadore  02790  ft.;  Posta  or  Angela,  R.  IV2-2V2  fr.,  very  fair;  Hdlel 
des  Alpe>,  well  spoken  of).  On  the  monntain-slope  to  the  N.  rises  the  church 
of  Sondalo.  The  valley  contracts;  the  .southern  vegetation  disappears; 
far  below  rushes  the  grey  glacier-water  of  the  Adda.  13'/2  M.  Mondadizza, 
with  a  curious  old  church.  At  (15  M.)  Le  Prese  (3115  ft.  ;  inn)  we  again  cross 
the  Adda.  We  then  enter  the  defile  of  Serra  di  Morignone,  about  S'/a  "■ 
in  length,  which  .separates  the  Val  Tellina  from  the  region  of  Bormio. 
In  1859  the  Ponte  del  Diavolo  was  the  scene  of  an  engagement  between 
Austrians  and  Garibaldians.  At  the  end  of  the  pass,  in  the  green  Valle 
di  Sotto,  lie  the  hamlets  of  Morignone  and  (farther  on)  SanV  Antonio. 

Beyond  (18'/2  M.)  Ceppina  we  reach  the  level  green  valley  (Piano)  of 
Bormio,  enclosed  by  lofty  mountains,  the  lower  slopes  ot  which  are  clothed 
with  pines,  and  the  upper  in  part  with  snow.    At  Santa  Lucia  (3840  ft.)  we 


182   rwute  27.  PORLEZZA. 

cross  the  Frodolfo,  just  above  Us  confluence  with  Ihe  Adda.  The  road 
runs  to  the  N.E.  to  O'/z  M.)  — 

25V2  M.  Bormio,  Ger.  WorJns  (4020  ft.;  Potta  or  Leon  (fOro;  ^Alb. 
delta  Torre,  R.  l'/2-2V2  fr-),  an  antiquated  little  Italian  town,  wi(h  numerous 
dilapidated  towers,  picturesquely  situated  at  the  entrance  to  the  Val  Furva 
(see  Baedeker^s  Eastern  Alps).  —  The  diligence  goes  on  hence,  ascending 
the  winding  Stelvio  route,  to  the  — 

45V2  M.  Bagni  di  Bormio.  The  Netc  Baths  (Bagni  Nuovi;  4345  ft.),  a 
handsome  building  surrounded  with  gardens  on  a  terrace  commanding  a 
fine  survey  of  the  valley  of  Bormio  and  the  surrounding  mountains,  are 
much  frequented  in  July  and  Aug.  (at  the  "Hotel,  R.  3-5,  B.  I1/2,  D.  4,  S.  3, 
pens.  8'/2-12  fr.)  and  are  closed  from  the  middle  of  <3ct.  (Engl.  Church 
Service  in  summer).  The  Bagni  Vecchi,  or  Old  Baths  of  Bormio,  are  a 
little  higher  up  (4750  ft.),  perched  on  the  rocks  below  the  road;  a  pictur- 
esque footpath,  shorter  than  the  road,  ascends  to  them  in  '/<  hr.  The 
seven  springs,  containing  salt  and  sulphur  (100-105°  Fahr.),  rise  in  the 
dolomite  cli/fs  near  the  old  baths,  whence  the  water  is  conducted  to  the 
new  baths  in  pipes.  They  are  mentioned  by  Pliny  and  Cassiodorus.  The 
old  Roman  baths  (piscine)  hewn  in  the  rock  are  interesting.  —  From 
Bormio  over  the  Stelvio  to  Landeck  and  Meran,  see  SaedeJcer''s  Eastern  Alps. 

27.  From  Menaggio,  on  the  Lake  of  Como,  to  Lugano 
and  to  Luino,  on  the  Lago  Maggiore. 

42  M.  Light  Railway  from  Menaggio  to  Porlczza,  8  M.,  in  ca.  1  hr. 
(fares  2  fr.  90,  1  fr.  55  c).  Steamboat  (mediocre  restaurant)  from  Porlezza 
to  (11  M.)  Lugano  in  I-IV4  hr.  (fares  2  Ir.  50,  1  fr.  20  c),  and  from  Lugano 
via  Porto  Ceresio  to  (15  M.)  Ponte  Tvesa  in  13/4-2  hrs.  (fares  2  fr.,  1  fr.  50  c). 
Light  Eailwat  from  Ponte  Tresa  to  Luino,  8  M.,  in  '/j  l^r.  (fares  2  fr.  90, 
1  fr.  30  c).  Through-tickets  from  Menaggio  to  Lugano  5  fr.  40,  2  fr.  80  c, 
to  Luino  9  fr.  80,  5  fr.  60  c.  (to  be  had  on  board  any  of  the  steamers).  — 
Swiss  custom-house  examination  on  board  the  steamers  in  the  Lake  of 
Lugano,  Italian  customhouse  at  Ponte  Tresa  or  Porlezza.  —  Comp.  the 
Maps,  pp.  154,  10,  174. 

Menaggio,  see  p.  178.  The  station  of  the  light  railway  is  at  the 
S.  end  of  the  village;  the  ticket-office  is  in  the  Hotel  Menaggio. 
The  line  at  first  ascends  rapidly  (5  :  100)  to  the  hills  above  the  lake, 
then  runs  towards  the  N.  for  ahout  half-a-raile.  Fine  *View  to  the 
right  of  the  central  part  of  the  Lake  of  Como,  with  Bellagio  in  the 
middle.  Farther  on  the  line  describes  a  wide  bend  to  the  W.  and 
beyond  a  short  tunnel  ascends  in  numerous  curves  on  the  left  side 
of  the  Val  Sanagra  to  (3  M.)  Orandola  (1260  ft.),  where  we  reach 
the  highest  point  of  the  line,  610  ft.  above  the  Lake  of  Como.  The 
train  descends  rapidly  (4  :  100),  via  Bene-Grona,  (S'/^  ^^0  Piono  (on 
the  small  Lago  del  Fiano^,  San  Pietro  (where  the  liago  di  Lugano 
comes  in  sight),  and  Tavordo,  in  the  broad  Valley  of  the  Cuceio. 

8  M.  Torlezz3i( Alb.  del  Lago  ;  Posta  ox  Angelo),  on  the  N.E.  arm 
of  the  Lake  of  Lugano,  with  the  Italian  custom-house  for  travellers 
in  the  other  direction,  is  the  headquarters  of  the  Italian  'torpedo- 
boats'  (p.  234).    Rail,  station,  close  to  the  steamboat-pier. 

The  Lake  of  Lugano  (890  ft.) ,  called  by  the  Italians  Lago 
Ceresio  after  its  doubtful  Latin  name,  is  20  sq,  M.  in  area  and  945  ft. 
deep  at  its  deepest  point.  The  curiously  shaped  lake,  not  unlike 
the  letter  S.,   occupies  the  deepest  portions  of  two  cross-valleys, 


OSTENO.  27.  Route.   183 

separated  by  the  Monte  San  Salvatoro,  while  the  N.  ends  of  the 
valleys,  as  -well  as  the  valley  to  the  N.E.,  between  Castagnola  and 
Porlezza,  have  been  filled  up  by  the  rivers  Agno  and  Ca-'^sarate. 
Its  wooded  and  oft-times  precipitous  banks  are  less  varied  and 
more  sombre  than  those  of  Lakes  Como  and  Maggiore,  but  its  central 
part,  the  *Bay  of  Lugano,  vies  in  scenic  charm  and  luxuriance  of 
vegetation  with  its  more  celebrated  neighbours. 

The  Steamer  proceeds  via  Cima,  at  the  foot  of  the  steep  hills  on 
the  N.  bank,  and  crosses  the  lake  diagonally. 

Osteno  (Hotel  du  Bateau,  expensive ;  Ristorante  delta  Grotta), 
on  the  wooded  S.  bank  of  the  lake,  was  the  birthplace  of  the  sculptor 
Andrea  Bregno  (d.  1506,  in  Rome),  who  is  represented  by  two  ciboria 
in  the  church.  It  is  frequently  visited  from  Lugano  on  account  of 
its  grotto  (return-fare  2  fr.  35  c. ;  ticket  for  the  grotto,  including  the 
ferry,  obtained  on  board  the  steamer,  75  c.). 

The  Grotto  of  Osteno,  Ital.  Orrido  or  Pescara  ('fishermen's  gorge') 
di  Osteno,  is  7  min.  from  the  landing-place.  The  ferryman  guides  visitors 
through  tlie  village  and  down  to  the  right  before  the  stone  bridge,  to  a  small 
foot-bridge  over  the  brook.  The  month  of  the  gorge,  in  which  there  is  a 
small  waterfall,  is  near  a  projecting  rnck  (restaurant).  Visitors  embark  in 
a  small  boat  and  enter  the  grotto,  the  bottom  of  which  is  occupied  by  the 
brook.  The  narrow  ravine  through  which  we  thread  our  way  is  curiously 
hollowed  out  by  the  wafer.  Far  above,  the  roof  is  formed  by  overhanging 
bushes,  between  which  glimpses  of  blue  sky  are  obtained.  The  gorge  is 
terminated  by  a  waterfall.  —  Time  permitting,  the  Grottoes  of  Rescia  may 
also  be  visited  (t  hr.  there  and  back  :  boat  with  rower  5-6  fr.).  Near  them 
are  tufa-quarries  and  the  picturesque  waterfall  of  Santa  Giulia. 

A  road  (2'/4  hr.^  ;  cable -railway  from  Santa  Margherita  projected) 
leads  from  Osteno  to  the  "Qrand  Edtel  Belvedere  (3015  ft. ;  R.  31/2-5,  B.  I1/2, 
dej.  31/2,  r)-  5,  pens.  9-12  fr. ;  closed  Oct. -April),  high  above  the  lake,  with 
a  large  park  and  a  fine  view  of  the  Lake  of  Lugano  and  the  Alps  with 
Mte.  Rosa,  a  pleasant  spot  for  a  stay  (Engl.  Church  Service  in  summer). 
The  main  branch  of  this  road  runs  to  (6  M.)  the  village  of  Lanzo  d'Intelvi 
(2975  ft.-,  Pens.  Lanzo  d'Intelvi;  Caff t  Centr ale,  d(5j.  2  fr.),  I1/4  M.  to  the  S.W. 
of  the  Hotel  Belvedere.  Lanzo  may  be  reached  also  from  Maroggia  (p.  15) 
in  3  hrs.  on  foot  or  by  carr.,  or  from  Argegno  (p.  175  •,  diligence)  in  41/2  hrs. 
Near  Lanzo  (20  min.)  are  the  baths  of  Paraviso.  Bridle-path  to  ilte. 
Generoso  (p.  16),  4V2  hrs. 

The  steamer  now  steers  obliquely  across  the  lake  to  San  Mamette 
(Pens.  Am-sler- Garten.  4'/2-5V2  f""-)  very  fair;  Stelta  d' Italia),  beauti- 
fully situated  at  the  mouth  of  the  picturesque  Val  Snlda,  with 
Ca.itello  high  above  it  (p.  14).  Beyond  Oria,  the  station  for  Albogasio, 
begins  the  Swiss  part  of  the  lake.  The  slopes  of  the  Mte.  di  Caprino 
(p.  13),  to  the  S.,  are  also  in  Switzerland.  On  the  N.  bank  tlie 
steamer  touches  at  Gandria  {Restaurant  RistoTi<'nnoc/ ;  Osteria  Ceresio ; 
walk  to  Lugano,  see  p.  13),  with  its  arcades  and  its  vine-terraces 
on  the  steep  slopes  at  the  foot  of  Mte.  Bri  (p.  14).  It  then  turns 
into  the  pretty  bay  of  Lugano,  on  the  S.  side  of  which  the  Mte.  San 
Salvatore  rises  conspicuously. 

Lugano  (four  piers),  see  p.  9.  The  station  of  the  St.  Gotthard 
Railway  lies  high  above  the  town,  1  M.  from  the  lake  (cable  railway 
1/4  M.  from  the  Lugano-Centrale  pier). 


184    Route  27.  MORCOTE. 

As  we  leave  Lugano,  we  enjoy  a  fine  retrospect  of  the  town  and 
Mte.  Bre.  The  steamer  ronnds  the  pTomontory  of  San  Martino,  the 
E.  spur  of  Monte  San  Salvatore,  and  calls  at  Campione,  an  Italian 
enclave  in  Swiss  territory.  This  village  was  the  home  of  the  Lom- 
bard sc.nlptors  of  the  13-14th  cent,  known  as  the  'Campionesi'.  The 
church  of  the  Madonna  dell'  Annnnziata  contains  some  14th  cent, 
frescoes  of  the  Lombard  school  (Life  of  John  the  Baptist).  To  the 
left  rise  the  steep  flanks  of  Mte.  Generoso  (p.  16).  The  boat  now 
passes,  with  lowered  funnel,  through  an  arch  of  the  viaduct  men- 
tioned at  p.  15,  and  touches  at  Melide  (p.  16 )  on  the  W.  and  some- 
times at  Bissone  on  the  E.  bank. 

At  this  point  a  fine  view  is  obtained  to  the  left  of  the  S.E. 
arm  of  the  lake  (Lake  of  Capolago.,  see  p.  15),  which  the  Mte.  San 
Giorgio  (3590  ft.)  separates  from  the  S.W.  arm.  The  steamer  enters 
the  latter  (to  the  left,  Brusin  Arsizio)  and  stops  at  Morcote  {Pens 
Villa  Maria,  German  ;  Hotel-Restaurant  Morcote,  Italian;  Hot.  Inter- 
national: Ristorante  Arbostora,  with  pens.  5  fr.),  a  small  town  with 
arcaded  houses,  picturesquely  situated  on  the  vine-clad  Monte  Ar- 
bostora (2710  ft.)  and  commanded  by  the  high -lying  church  of 
Madonna  delS  isso  and  a  ruined  castle.  The  church  of  the  adjacent 
(N.E.)  village  of  Vico  Morcote  contains  interesting  sculptures. 

The  steamer  now  plies  obliquely  across  the  lake  to  the  small  bay 
of  Porto  Ceresio  (Alb.  Ceresio,  plain),  situated  on  Italian  soil  (electr. 
railway  to  Vare.ne  and  Milan,  see  R.  28).  To  the  S.  opens  the  Val 
Brivio,  with  Mle.  Uaeria  (p  187).  The  steamer  turns  to  the  N.  and 
reaches  the  W.  part  of  the  lake.  To  the  left,  in  Italy,  lies  Brusim- 
piano  (Alb.  Parini),  where  Mte.  San  Salvatore  again  comes  into 
sight  to  the  N.E.  The  boat  passes  to  the  left  of  the  Lake  of  Agno 
(see  below),  the  background  of  which  is  formed  by  Mte.  Bigorio, 
Mte.  Tamaro,  and  other  summits,  and  steers  through  the  Stretto  di 
Lavena,  a  narrow  channel  leading  into  the  westernmost  bay  of  the 
lake,  which  is  almost  completely  enclosed  by  mountains.  To  the 
left,  is  the  village  of  Lavena;  to  the  right,  the  sheer  Monte  Sassalto 
(1740  ft.),  formerly  an  island.    At  the  W.  end  of  the  bay  is  — 

Ponte  Tresa,  consisting  of  two  villages,  the  larger  of  which  is 
Swiss  and  the  smaller  Italian,  divided  by  the  river  Tresa,  which 
issues  from  the  lake  here.  The  railway-station  and  steamboat 
quay  are  on  the  Italian  side.  Italian  custom-house  examination. 
On  the  Swiss  side  is  the  Albergo  CriveUi  (R.  from  1  fr.). 

The  Road  prom  Ldgano  to  Ponte  Teesa  (6  M. ;  motor-omnibus,  see 
p.  11)  passes  Sorengo  (comp.  p.  12)  beyond  the  Restaurant  du  Jardin, 
descends  past  the  small  Lake  of  Muzzano,  and  traverses  the  broad  valley 
of  the  Agno  (p.  8)  to  the  small  town  oi  Agno  (970  ft.;  Kistor.  Bofta),  which 
lies  on  the  arm  of  the  Lake  of  Lugano  named  after  it  (see  above).  Farther 
on  we  pass  Magliato  and  the  Hagliatina,  traverse  the  Swiss  part  of  Ponte 
freta,  cross  the  bridge  to  the  left,  and  reach  the  railway-station. 

From  Ponte  Tresa  to  Ohirla  (Varese),  see  p.  18T. 

The  Light  Railway  pkom  Pontb  Tresa  to  Luino  descends 
along  the  left  bank  of  the  rapid  and  clear  Tresa,  which  here  forms 


VARESE.  28.  Route.   185 

the  bonndary  between  Italy  and  Switzerland.  Several  villages  and 
ohnrches  are  seen  perched  among  the  rocks.  Beyond  the  station 
of  (S'/g  M.)  Cremennga  (833  ftO  the  train  passes  throngh  two  tnnnels 
and  crosses  the  river,  the  precipitous  right  hank  of  which  is  now 
also  Italian.  —  6  M.  Creva  (745  ft.),  with  important  manufactories. 
Crossing  finally  the  Bellinzona-Genoa  line  (li.  30;  station  to  the 
left),  we  arrive  at  (8  M.)  Luino,  where  the  station  adjoins  the  Lago 
Maggiore  steamhoat-quay  (see  p.  194). 


28.  From  Milan  to  Porto  Ceresio,  on  the  Lake  of 
Lugano,  via  Gallarate  and  Varese. 

46V2  M.  Electric  Railway  (Rete  Mediierranea)  in  I'/i-l'A  br.  (fares 
4  fr.  50.  6  tr.  5,  2  fr.  25  c);  to  (37  M  )  Varese  (20-30  trains  daily)  in  I-IV2  hr. 
(fares  3  fr.  30,  1  fr.  65c.).  The  line  wa?  laid  in  1901  by  the  Thomson- 
Houston  Co.  of  America,  on  the  tbird  rail  principle.  —  The  custora-house 
examination  takes  place  on  the  .steamer.     Comp.  the  Map,  p.  190. 

From  Milan  (Central  Station)  to  (2672  M.)  Gallarate,  where 
the  Simplon  Railway  diverges,  see  p.  5. 

Fkom  6all.4rate  to  Ijaveno,  20  M.,  railway  in  1  hr.  (fares  1  fr.  80, 
91c.).  —  10  M.  Ternite-Varano,  on  the  little  lake'  of  Comahhio  (795  ft.).  — 
15  M.  Besozzo  (85<3  ft.).  —  20  31.  Laveno,  see  p.  195. 

Our  line  runs  to  the  N.  through  the  attractive  and  fertile  hilly 
districtof  the  Varesoito.  2,Q^li'M.  Alhizzate;  35 M.  Gassada (1230 ft.), 
in  a  lofty  situation,  with  the  Villa  Cagnola.  As  the  train  proceeds 
we  enjoy  a  beautiful  vi^w,  to  the  left,  of  the  Lake  of  Vare«e  and 
Varese  with  the  Monte  Campo  de'  Fiori  in  the  background. 

371/2  M.  Varese.  —  Railway  stations.  1.  Stazione  Rete  ^fediterranea, 
to  the  E.  of  the  town.  —  2.  Stazione  Ferrone  Nord,  350  yds.  to  the  N.E.  of 
the  foregoinsr,  fir  the  Milan-Laveno  and  Como-Laveno  lines  (pp.  187.  170). 

Hotels.  "Excelsior  GR,\sr>  Hotel  Varkse,  a  large  establishment  1  31. 
to  the  W.  of  the  town  and  1320  ft.  above  the  sea-level ,  near  the  station 
of  Casbeno  (p.  18S),  with  a  lift,  steam-heating,  a  beautiful  garden,  and  a 
splendid  view  of  the  whole  chain  of  the  W.  Alps,  R.  from  4,  E.  I'/j,  d^j.  4-5, 
V>.  5-6,  pens,  from  9,  omn.  1  fr.  This  house,  much  visited  by  English 
and  American  travellers,  is  closed  from  Dec.  to  February.  —  In  the  town 
(rooms  must  be  ordered  in  advance  during  the  races,  in  Sept.):  "Italia, 
Corse  Roma,  with  small  garden,  "Europa,  Via  Luigi  Sacco,  R.  from  2'/?, 
pens,  from  7,  omn.  8/^  fr^  both  Italian,  with  restaurants;  Leon  d'Oro, 
Gambebo,  Ancelo,  Alb.  Centeale,  all  lour  quite  unpretending.  —  Cafes 
(Cavour.  t^c.^  under  the  arcades  in  the  Corso  Vittorio  Emanuele. 

Post  Oface,  in  thf  Blunicipio  (p.  186).  * 

Cabs.  One-horse  carr.  per  drive  in  the  town  1  fr.,  to  Castiglione 
(p.  187),  with  a  .«tay  of  1-2  hrs.,  about  6  fr.  (bargain  necessary). 

Electric  Tramways  (generally  crowded  on  Sun.).  1.  From  "the  Stazione 
ifediterranea  to  Masnagn.  —  2.  From  the  Stazione  Fermrie.  Kord  along  the 
C  >rso  Roma  and  Corso  Vitt.  Emanuele,  via  (2  31.)  Battole  and  through 
the  villages  of  Sant'  Amtirogio  and  Fogliaro,  lo  ('..'5  min.)  the  Prima  Cappella, 
below  the  JIadonna  del  Monte  (every  25  min.;  fare,  np  50,  down  3')  c).  — 
3.  From  Beitole  (see  above)  via  Ghirla  and  Cunardo  to  (IS'/z  3I-)  Luino 
(p.  194;  in  liA  hr.:  fares  2  fr.  15,  1  fr.  35c.). 

English  Church  Service  in  the  Grand  Hotel  Varese.  —  Golf  Ground 
(9  holes)  near  the  Gra'id  Hotel.  —  English  Physician,  Dr.  Hubert  IJiggins, 
Via  Staurenghi  3. 


186    Route  28.  VARESE.  From  Milan 

Varese  (1250  ft.)  is  a  thriving  town  with  7700  inhab.  and  silk, 
paper,  furniture ,  and  other  manufactories.  Noted  market  every 
Monday.  In  summer  the  charming  environs  attract  a  number  of 
Milanese  families.  The  busiest  street  is  the  Corso  Vittorio  Emanuele. 
Adjacent,  in  the  small  Piazza  San  Vittore,  is  the  church  of  San 
Vittore,  rebuilt  in  1580-1615  after  a  design  by  Pellegrino  Tibaldi, 
with  a  facade  by  L.  Pollack  (1795).  Fine  view  from  the  handsome 
campanile  (1617-1773),  236  ft.  in  height.  Adjoining,  in  the  small 
Piazza  del  Battistero,  is  an  ancient  Baptistery.  —  In  the  Via  Luigi 
Sacco,  to  the  left,  is  the  Municipio^  formerly  named  La  Corte,  built 
for  Duke  Francis  III,  of  Modena  in  1775  and  now  containing  a 
collection  of  prehistoric  and  Roman  antiquities  (incl.  objects  dis- 
covered in  the  Roman  cemetery  at  Ligurno).  The  Oiardino  Pub- 
ilico^  formerly  the  palace-garden,  is  laid  out  in  the  old  Italian  style ; 
tine  view  of  the  Lake  of  Varese  and  the  W.  Alps,  with  Monte  Rosa, 
from  the  top  of  the  wooded  ridge. 

Among  the  villas  may  be  mentioned  :  Villa  Litta,  on  the  road  to  Biume 
Superlore;  Villa  Ponti.,  to  the  N.E.,  on  the  road  to  Biume  Inferiore;  then, 
near  the  latter  village,  Villa  Litta  Modignani,  which  still  bears  traces  of 
a  skirmish  fought  here  in  1859  between  Garibaldi  and  the  Austrians. 

Walks.  To  the  S.E.  to  (21/4  M.)  Bizzozero  (1240  ft.),  by  the  Milan  road 
which  commands  beautiful  views  of  the  sjiurs  of  the  Alps  as  far  as  the 
Lake  of  Como,  of  the  S.  end  of  the  Lago  Maggiore,  and  of  the  Monte  Rosa 
group.  From  IJizzozero  we  may  descend,  partly  through  wood,  -via,  Lozza 
(1075  ft.)  to  (3  M.)  Caatiglione  (p.  187)  5n  the  Vai  d'Olona.  —  To  the  S.  to 
(IV4  M.)  SanC  Albino  and  Gazzada  (p.  185).  —  To  the  S.W.  to  Casheno  (p.  188) 
and  Schieranna,  on  the  Lago  di  Varese  (785  ft.),  and  thence  either  by  hoat  to 
the  (1  hr.)  Isola  Virginia  (restaurant),  with  the  small  Museo  Ponti  (relics  of 
lake-dwellings),  or  along  the  N.  bank  of  the  lake  to  Catona^e,  OUrona,  Vol- 
iorre  (where  there  is  an  old  monastery  with  interesting  Romanesque 
cloisters),  and  (71/2  M.)  Gavirate  (p.  188).  —  To  the  Colle  Campiglio  (1485  ft.), 
I'/z  M.  to  the  W.,  on  the  road  to  Masnago  and  Laveno,  commanding  a  fine 
view;  thence  vXa,  Masnago  and  Casdago  (1510  ft.;  where  the  Villa  Castel- 
harco  affords  a  fine  'View  of  the  five  lakes  and  of  Mte.  Rosa)  to  Luvinalc, 
whence  a  beautiful  view  is  obtained  of  the  Lake  of  Varese  and  the  small 
adjacent  Lake  of  Biandronno  (790  ft.),  and  also  of  the  farther  distant  lakes 
of  Monafe  (880  ft.)  and  Comdbbio  (p.  185).  A  little  farther  on  are  the  rail, 
stations  of  Barasso  and  Gavirate  (p.  183). 

The  most  interesting  excursion,  however,  is  that  to  the  "^ISIadonna  del 
Monte  (2885  ft.),  a  resort  of  pilgrims,  2'/2  hrs.  to  the  N.W.  The  road  leads 
via  Betiole  (di  Varese),  SanV  Ambrogio  (1510  ft.)  and  Fogliaro  to  the  hamlet 
of  Oronco.,  near  the  Prima  Cappella  (tramway,  see  p.  185;  one-horse  carr. 
there  and  back  8-10  fr.).  About  150  yds.  beyond  the  tramway-terminus  is 
the  Albergo  del  Riposo,  with  a  pretty  garden  (view).  A  broad,  steep,  and 
.sha'deleas  paved  path  (horse  or  mule  2,  ox-cart  4  fr.)  ascends  hence  to 
(1  hr.)  the  Pilgrimage  Church,  passing  14  chapels,  adorned  with  17th  cent, 
frescoes  and  groups  in  painted  stucco  illustrating  the  mysteries  of  the 
rosary,  and,  lastly,  a  statue  of  Moses.  The  church,  situated  on  an  abrupt 
rocky  summit,  is  a  structure  of  the  16-17th  cent.,  with  an  ancient  crypt. 
In  the  vestibule  is  a  13th  cent,  relief  of  the  Madonna;  in  the  dome  traces 
of  frescoes  of  about  1500.  Adjacent  are  the  old  monastery  (founded  in 
1475)  and  the  Albergo  Camponovo.  The  view  hence  is  celebrated  ;  the  small 
lakes  of  Comabbio,  Biandronno,  and  Monate,  that  of  Varese,  two  arms  of 
the  Lago  Maggiore,  part  of  the  Lake  of  Como,  and  the  fruitful  plain  as 
far  as  Milan  are  visible.  —  A  far  more  comprehensive  view,  including  the 
glacier- world  also,  is  obtained  (best  by  morning -light)  from  the  (1  hr.) 
Monte  delle  Tre  Croci  (ca.  3600  ft.)   and   from  the  (P/i  hr.)  'Monte  Campo 


to  Porto  Ceresio.         PORTO  CERESIO.  28.  Route.    187 

de'  Fieri  (4030  ft.;  UOI.  Ciotti).  These  are  reached  by  a  bridle-path  diverg- 
inr;  to  tlie  right  at  the  above-mentioned  statue  of  Moses  (horse  or  mule 
frnm  the  Prima  Cappella,  with  driver,  4-5  fr.)- 

Those  who  make  a  longer  stay  should  take  the  pleasant  Drive  round 
the  Mte.  Campo  de'  Fieri  via  Gavirate  (p.  188),  Cocqnio,  Orino,  Brimio,  and 
Fogliaro  (p.  186 -,  carr.  8-10  fr.,  with  two  horses  16-20  fr.). 

The  new  Light  Eaii-wat  to  Luino  diverges  to  the  N.  at  Bctlole  (p.  186) 
and  enters  the  picturesque  Valganna,  or  upper  valley  of  the  Olona.  It 
passes  through  the  Olona  gorge,  skirting  the  small  Logo  di  Ganna,  on  the 
left,  to  (5'/=  M.)  Ganna  (1505  ft. ;  Alb.  Valganna),  the  chief  village  in  the 
valley,  at  the  base  of  Monle  Poncione  (3258  ft.).  It  then  skirts  the  pretty 
Lago  di  Ghirla  (1430  ft.;  fish  abundant:  frequented  in  winter  by  skaters 
from  Milan)  to  (772  M.)  Ghirla  (1475  ft.;  Hot.  Ghirla),  whence  a  road  (one- 
horse  carr.  5  fr.)  runs  to  the  N.E.  through  the  beautifulJ/arc7)iro?ci  ValUy 
down  to  San  Pieiro  and  Ponte  Tresa  (p.  181).  The  railway  descends  in 
windings  to  the  N.  W.  via  (S'/:  i*I.)  Cvnardo,  with  the  Varese  electric  works, 
and  (10  M.)  Ferrera- Cnmartino ,  to  (11  M.)  Grantola,  in  the  monotonous 
Mnrgorabhia  Valley.  —  15V2  M.  Luino.,  see  p.  194. 

From  Varese  to  Como,  see  p.  170;  to  Laveno,  see  R.  29. 

The  Railavay  to  Porto  Cekbsio  crosses  the  Ferrovie  Nord  and 
then  a  lofty  viaduct  over  the  Olona.  —  SQi/o  M.  Induno  -  Olona., 
with  the  Villa  Medici.  To  the  left  rises  the  Mte.  Monarca  (2815  ft.). 
Tunnel.  41Yo  M.  Arcisate-Brenno,  at  the  base  of  the  finely-shaped 
Sasso  delle  Coma  (3390  ft.).  —  The  line  then  describes  a  wide  curve 
round  the  Monte  Useria  (iSlO  ft.),  with  its  pilgrimage-church.  — 
43YoM.  Bisuschio-Viggiii.   Bisuschio,  which  lies  in  the  Val  Brivio, 

1  M.  to  the  W.,  is  a  favourite  resort  from  Varese  and  contains  the 
Villa  Cicogna,  with  a  large  park  and  splendid  view  a  of  the  Lake  of 
Lugano.  ViggiO  lies  on  the  height  to  the  right,  commanded  by  the 
church  of  SanC  Elia.  —  We  now  descend  into  the  Val  Brivio.  In 
the  foreground  to  the  left  is  an  extensive  quarry  of  granite  paving- 
stones,  at  Cuasso  al  Monte  (1640  ft.). 

46i/o  M.  Porto  Ceresio  (p.  184).  The  rail,  station  lies  close  to 
the  Lake  of  Lugano.  Steamer  10  times  daily  in  summer  to  (^/4-l  hr.) 
Lugfino,  see  pp.  183,  9. 

29.  From  Milan  to  Laveno,  on  the  Lago  Maggiore, 
via  Saroano  and  Varese. 

45'/2  M.  Railway  (Ferrovie  Nord)  in  ca.  iV4-2V4  hrs.  (faros  4  fr.  25, 
3  fr.  .55,    1   fr.  80c.);   to  (311/2  M.)   Varest  in  ca.  11/4-2  hrs.  (fares  3  fr.  70, 

2  fr;  55,  1  fr.  35  c).  For  return-tickets,  comp.  p.  191.  The  trains  start 
from  the  Stazione  Ferrovie  Nord  (p.  128).  —  In  clear  weather  this  is  a  very 
attractive  journey  (best  views  to  the  left). 

From  Milan  to  (13'/2  M-)  Saronno,  see  p.  164.  As  we  proceed, 
we  have  a  fine  view  to  the  right  of  Brunate,  the  mountains  round 
Lake  Como,  and  Jlte.  Generoso.  —  16  M.  Gerenznno-Turate.  The 
large  Casa  Umberto  Prime  at  Turate  is  a  convalescent  home. 

'2V/2M.  Tradate  (1024ft.).  To  the  left  we  obtain  a  grand  view 
of  the  Valais  Alps ;  in  the  foreground  appear  the  Mte.  Campo  de' 
Fieri,  with  the  Madonna  del  Monte  (p.  186).  and  the  mountains 
round  the  Lake  of  Lugano.  —  24  M.  Venegono  Inferiore;  26  M. 
Venegono  Superiore-Castiglione. 


188    Route  29.  CASTIGLTONE  OLONA. 

About  IV2  M.  to  the  W.  of  Venegono  Superiore,  and  5'/2  M.  to  the  S.E. 
of  Varese  (comp.  p.  18*3;  carr.  see  p.  185),  is  Castiglione  Olona  (1053  ft.  ; 
Albergo  SanC  Antonio),  on  ihe  Olona,  with  19tK)  inhab.  and  some  interesting 
works  of  art.  In  the  main  street  (Via  Vittdi-io  Emanuele  Secondo)  is  the 
Casa  Castiglioni,  the  house  of  Canlinal  Branda  Castiglioni  (d.  1443),  a  brick 
building  with  a  handsome  Gothic  window  and  portal.  —  A  few  paces  off, 
at  the  approach  to  the  collegiate  church  (Via  Cardinal  Branca),  lies  the 
Chiesa  di  Villa  or  Ghiesa  del  Corpo  di  Crista,  a  large  building  in  the  style  of 
Brunelleschi  (p.  470),  witti  an  elegant  portal  and  the  tomb  of  Guide  Castig- 
lioni (d.  1486).  The  Gothic  Collegiate  Chdrch,  situated  high  up  above 
the  wooded  gorge  of  the  Olona,  contains,  in  the  choir,  frescoes  (mostly  much 
injured)  painted  about  1428  for  Cardinal  Branda  Castiglioni  by  MasoUno  of 
Florence,  the  master  of  itasnccio  (p.  537):  at  the  sides  of  the  windows, 
scenes  from  the  lives  of  SS.  Stephen  and  Laurence ;  on  the  vaulting,  Birth 
of  Christ,  Annunciation,  Assumption  of  the  Virgin,  Marriage  of  the  Vir- 
gin, Adoration  of  the  Magi,  and  Angels  playing  musical  instruments ;  on 
the  left  is  the  monument  of  Card.  Branda  Castiglioni  by  Leonardus  Oriffut 
(1443).  The  sacristy  contains  some  valuable  church -furniture,  incl.  an 
ivory  reliquary  of  the  8th  cent.  (?).  —  The  sacristan  ('/a-l  fr.)  conducts  visi- 
tors across  the  court  to  the  Baptistery  ,  which  is  also  richly  adorned  with 
'Frescoes  by  Masolino  (scenes  from  the  life  of  John  the  Baptist;  about 
1435).  Those  on  the  entrance- wall  (Angel  appearing  to  Zacharias)  and 
On  the  N.  wall  (1)  are  almost  completely  destroyed.  On  the  choir-wall : 
John  preaching  Christ  as  the  Messiah;  '-'Baptism  of  Christ  (the  three 
figures  undressing  themselves  to  the  right  are  interesting  indications  of 
the  awakening  study  of  the  human  form);  John  preaching  before  Herod; 
above,  on  the  vaulting,  God  the  Father  between  angels.  On  the  S.  wall : 
John  the  Baptist  in  prison;  the  daughter  of  Herodias  begging  the  head  of 
John  the  Baptist  and  hearing  it  to  her  mother.  The  rocky  cave  in  the 
background  contains  the  saint's  tomb;  on  the  vaulting,  church-fathers. 

The  train  now  enters  the  Varesotto  (p.  186),  crosses  a  viaduct, 
and  reaches  (281/2  M.)  Malnaie,  the  junction  of  the  Como-Laveno 
line  (p.  170).  We  cross  the  valley  of  the  Olona  hy  a  lofty  viaduct. 
Beyond  a  tunnel  we  cross  another  ravine. 

311/2  M.  Varese  (p.  185),  the  junction  of  the  electric  railway 
from  Milan  to  Porto  Ceresio  via  Gallarate  (R.  28). 

The  railway,  traversing  a  tunnel,  sweeps  round  Varese  on  the 
S.  —  331/2  M.  Varene-Casbeno,  the  station  for  the  Excelsior  H6tel 
(p.  185).  —  Farther  on  there  is  a  view  of  the  Lago  di  Varese  on 
the  left  (p.  186),  and  the  Monte  Rosa  group  in  the  distance.  The 
lake  comes  fully  into  sight  beyond  (8672  M.)  Bnrasso  -  Comerio 
(1320  ft.).  —  The  train  then  descends  to  (38V2  M.)  Oavirate,  near 
the  N.W.  extremity  of  the  Lago  di  Varese.  In  the  vicinity  arc 
quarries  of  'marmo  majolica',  a  kind  of  marble  used  for  decorative 
purposes. 

In  the  foreground  to  the  left  is  the  Monte  Mottarone  (p.  201). 
411/2  M,  Oemonio  (1016  ft.),  with  numerous  villas.  Farther  on  the 
Boesio,  which  waters  the  Val  Cuvio,  is  crossed,  and  beyond  (43  M.) 
Cittiglio  its  right  bank  skirted.  The  line  then  leads  past  the  S.  base 
of  the  precipitous  Sasso  di  Ferro  to  — 

451/2  M.  Laveno  (p.  195),  on  the  E.  bank  of  Lago  Maggiore,  a 
station  on  the  Bellinzona  and  Genoa  line  (p.  189)  and  also  a  steam- 
boat-station.   Boat  to  the  Borromean  Islands,  see  p.  196. 


189 


30.  From  Bellinzona  to  Genoa  via  Alessandria. 

Railway  to  (156  M.)  Genoa  in  7-11'/.:  lirs.  (express  fares  31  fr.  55,  22  t'r.  15, 
13  fr.  20  c);  to  (25  M.J  Luino  in  l-l'/2  br.  (fares  4  fr.  35,  3  fr.  10,  2  fr.  10  c); 
to  (34  M.)  LaveMO  in  lV2-2i/-j  brs.  ffares  G  fr.  10,  4  fr.  30,  2  fr.  90  c. ;  best 
view.'^  to  the  right).  —  Oleggio  is  the  junction  of  the  new  e.vfension  of  the 
Simplon  Railway  (R.  2),  from  Arena  to  Novara,  on  whicli  a  direct  express 
service  to  Genoa  via  Alessandria  is  to  be  estal>lished.  —  At  Mcrtara  our 
line  is  joined  by  another  coming  from  Milan,  on  which  some  of  the 
through-trains  from  Milan  to  Genoa  run.  From  Milan  to  Genoa,  106  M., 
in  41/2-73/4  hrs.  (fares  19  fr.  75,  13  fr.  85,  8  fr.  SO  c. ;  express  21  fr.  70,  15  fr.  20, 
9  fr.  90  c). 

Bellinzona,  see  p.  8.  Railway  to  (51/2  M.)  Cadenazzo,  -where  the 
Locarno  line  diverges,  see  p.  191.  — At  (IOV2M.)  Mayudino  (p.  193J 
the  train  reaches  the  Layo  Mayyiore,  and  skirts  its  E.  bank  (views 
to  the  right;  comp.  the  Map,  p.  192).  Opposite  lies  Locarno  (p.  191  J. 
—  Beyond  (14'/-.)  M.)  Ranzo-  Oera  (opposite  Brissago,  p.  193)  we 
cross  the  Dirinella,  the  Italian  frontier. 

17  M.  Fino,  the  flrst  Italian  station.  The  hank  becomes  steep 
and  rocky.  Between  Pino  and  Luino  there  are  six  tunnels  and 
numerous  cuttings  and  viaducts.  Delightful  views  of  the  lake  to 
the  right;  on  the  opposite  bank  lies  Cannobio  (p.  194),  and  farther 
on  is  the  promontory  of  Cannero,  with  the  picturesque  castles  of 
that  name  on  a  rocky  islet  (p.  195).  Near  (21  M.)  Maccagno  (p.  194) 
the  train  crosses  the  Giona. 

25  M.  Luino,  au  international  station ,  with  Swiss  and  Italian 
custom-houses,  see  p.  194.  —  To  Lugano,  see  pp.  185-183;  to 
Varese,  see  p.  187. 

The  line  crosses  the  Margorabbia  (p.  195).  29  M.  Porto-  Valtra- 
vaylia.  Beyond  a  tunnel  under  the  castle  of  Calde  (p.  195)  we 
skirt  the  bay  of  the  same  name  (opposite  Intra,  p,  196)  and  enter 
the  Tunnel  of  Calde,  1^/4  M.  long. 

34  M.  Laveno  (p.  195)  is  beautifully  situated  at  the  foot  of 
the  Sasso  di  Ferro  (p.  196).  Splendid  view  across  the  broad  lake 
into  the  bay  of  Stresa ;  in  the  centre  lie  the  Borromean  Islands,  in 
the  distance  rise  the  snow-peaks  of  Monte  Rosa  and  the  Simplon. 

Laveno  is  the  station  for  Pallama,  Stresa,  and  the  Borromean  Islands 
(steamer  and  small  boats,  pp.  191,  196;  from  the  station  to  the  quay, 
ca.  12  mill.;  omn..  30  c).  —  Railway  to  Oallarate  (Milan),  seep.  185;  via 
V^arese  to  Como,  .see  p.  170;  \iiVarese  and  Saronuo  to  Milan,  see  pp.  188,  187. 

The  line  quits  the  lake.  36^/2  M.  Leyyiuno-Monvalle ;  AO^/2  M. 
Ispra  (720  ft.),  on  a  promontory  (opposite  Belgirate  and  Lesa, 
p.  201). 

The  last  glimpse  of  the  lake  is  obtained  at  (43Y2  M.)  Taino- 
Anyera.    Opposite  lies  Arena  (p.  201 ). 

47  M.  Sesto  Calende,  at  the  efflux  of  the  Ticino  from  the  lake, 
junction  for  tiic  Simplon  Railway  (11.  2).  A  handsome  iron  bridge, 
with  two  roadways  (the  lower  for  the  railway,  the  upper  for  the 
Simplon  road),  here  spans  the  Ticino.  The  railway  to  Arona  (p.  201) 
diverges  to  the  right  on  the  other  side  of  the  river. 


190  Route  30.  MORTARA. 

We  follow  the  right  bank  of  the  Ticirio.  51  M.  Porto-Varal- 
pornbia;  then  a  long  tunnel.  53  M.  Pombia.  —  56Y9  M.  Oleggio 
(760  ft.). 

At  01eg(;ii-»  out  line  is  joined  by  the  new  branch-line  of  the  Simplon 
Ilailwav.     Feom  Arona    to   Novaiia,   23  M.,    in   '^/i-P/2  hr.    (fares  4  fr.  30, 

3  fr.  15,  1  fr.  95  c. ;  express  4  fr.  75,  3  Ir.  35,  2  fr.  15  c);  I0  Genoa, 
112  M.,  in  6'/2  lirs.  The  line  first  runs  to  tlie  S.  point  of  La^o  Magaiore  ; 
to  ihe  left,  in  the  distance,  the  Moute  Canipo  de'  Fiori  and  the  Madonna 
del  Monte  (p.  186).     Stations:  5'/-'  M.  Borgo  Ticino;  12'/2  M.   Oleggio. 

A  glimpse  of  Mte.  Kosa  is  obtained  to  the  right.    Flat  country. 

67  M.  Novara  (p.  66),  junction  for  Milan  and  Turin  (K.  16). 

Beyond (771/2 M.)Borj/o-Lavez2aro  we  traverse  rice-tlelds  (comp. 
p.  68). 

82  M.  Mortara,  a  town  with  7300  inhabitants.  The  church  of 
San  Lorenzo  contains  pictures  by  Lanini  and  Gaud.  Ferrari  (Ma- 
donna with  SS.  Rochus  and  Sebastian). 

At  Mortara  the  direct  line  to  Milan  diverges.  From  Milan  to  Mortaka, 
321/2  M.,  in  11/4-21/4  hrs.  (fares  6  tr.  5,  4  fr.  25,  2  fr.  75  c. ;   express  6  fr.  (55, 

4  fr.  65,  3  Ir.  5  c).  We  start  from  the  Central  Station,  and  pass  Porta 
Ticinese  (PI.  B,  8j  and  Abbialegrasso  fwith  a  church  ascribed  to  Bramante; 
i497j.  We  cross  the  Ticino  to  t24  M.)  Vigevano  (Alb.  Reale),  a  town  of 
some  importance  in  the  silk-trade,  with  18,UU01nhab.  and  a  spacious  market- 
place (Piazza  Ducale  or  del  Duomo),  dating  from  the  reign  of  Lodovico  il 
Moro  (p.  127),  the  arcades  of  which  still  e.xhibit  traces  of  early- Renais- 
sance decorations  (perhaps  by  Bramantej.  The  Gothic  Castello  has  an 
elegant  Renaissance  loggia  by  Bramante,  who  probably  designed  alfo  the 
upper  portion  of  the  main  tower,  a  copy  of  Filarete's  tower  at  Milan 
(p.  147l.  Steam-tramway  from  Vigevano  to  Novara  (p.  68).  —  Then  (321/2  M.) 
Mortara.,  see  above.  —  From  Mortara  to  Aiti,  see  p.  52. 

Mortara  is  also  the  junction  for  the  Vercelli-Pavia  line:  4I1/2  M.,  in 
3-31/2  hrs.  (fares  7  fr.  80,  5  fr.  45,  3  fr.  50  c).  Stations  unimportant.  Ver- 
celli,  see  p.  66;  Pavia,  see  p.  202. 

921/2  M.  Sartirana;  96V2  M.  Torre-Beretti,  the  junction  of  the 
Pavia  and  Alessandria  line  (p.  205). 

To  the  left  the  long  chain  of  the  Apennines  forms  a  blue  line 
in  the  distance.  The  train  crosses  the  Po.  —  100  M.  Valenza,  once 
a  fortified  town,  with  10,000  inhab.,  has  a  cathedral  of  the  16th  cent, 
(line  from  Vercelli  to  Alessandria,  see  p.  66).  —  Tunnel  I'/s  M. 
in  length.  103^2  M.  Valmadonna;  several  prettily  situated  little 
towns  lie  on  the  chain  of  hills  to  the  right.  The  Tanaro  is  then 
crossed. 

IO81/2  M.  Alessandria,  and  thence  to  (166  M.)  Genoa,  see  R.  lie. 

31.  Lago  Maggiore. 

Plan  for  a  circular  tour  round  the  three  lakes,  see  p.  173.  The  finest 
part  of  the  Lago  Maggiore  is  the  W.  bay,  with  the  Borromean  Islands, 
which  are  best  visited  from  Pallanza,  Stresa,  or  Baveno  by  small  t)oat, 
though   the  hurried   traveller   may  accomplish  the   excursion  by  steamer. 

Railways  (stations  are  denoted  by  a  capital  K  in  the  following  descrip- 
tion). —  From  Bellinzona  to  Locarno,  13v2  M.,  in  i/.^rV*  hr-  (fares  2  fr.  30, 
1  fr.  00,  1  fr.  15  c).  Through-tickets  including  the  steamboat  on  Lago  Mag- 
giore are  issued  for  Pallanza  (6fr.  90,  5  fr.  20,  3  fr.  15  c.)  and  other  points. 


ifliirar.K)!     ^^-       '^         <^         [ 


sula   SeiJifii 


-J  .:^r^^ 


^I^     Tr'CJ     r= 


LOCARNO.  31.  Route.    191 

From  Bkljjnzona  to  SiiSTO  Calende  via  Luino,  47  M.  To  Luino  in 
I-IV-  lir.  (fares  4  fr.  50,  3  fr.  20,  2  fr.  10  c);  thence  to  Sestu  Calende  in 
•V4-1'A  hr.  (faxes  4  fr.  16,  2  fr.  95,  1  fr.  85  c).     See  R.  30. 

Fkom  Pallanza-Fonuo  Toce  to  Sesto  Calende  via  Luino,  2OV2  M.  in 
3/1-1V4  lir.  (fares  3  fr.  85,  2  fr.  70,  1  fr.  75  c). 

From  Luino  to  Lugano,  see  pp.  185-183;  from  Laveno  to  Varese  (Porto 
Ceresio,  Como,  Milan),  see  R.  29. 

Steamboats  (comp.  p.  xviii).  Some  of  the  boats  are  waloon-steamers, 
with  restaurants  on  board  (d^j.  3,  I>.  4'/^  fr.).  Three  or  four  times  daily 
in  summer  from  Locarno  to  Arona,  3-4  times  daily  from  Locarno  to  Arona, 
and  five  or  six  times  daily  from  Luino  to  Stresa.  From  Locarno  to 
Arena  5V2-6V4  brs. ;  from  Luino  to  Isola  Bella  2i^-3V2  (from  Laveno  i-lV4, 
from  Tallanza  ca.  Vilr.);  from  Isola  Bella  to  Arona  IV4-IV2  It.  The 
steamers  are  olten  late.  Fares  from  Locarno  to  Arona  6  fr.  5  or  3  fr.  45  c, 
from  Luiuo  to  Isola  Bella  3  fr.  35  or  2  fr.,  from  Isola  Bella  to  Arona  1  fr. 
95,  or  1  fr.  20  c. ;  ticket  valid  for  three  days  all  over  the  lake  (biglietto 
di  libera  percorrenza),  9  fr.  50,  5  fr.  50  c. :  fifteen-day  ticket  (valid  for  a 
year,  for  weekdays  only)  15  fr.  60,  10  fr.  60  c. ;  Sun.  ticket  (biglietto 
festivo;  not  valid  for  all  steamers)  1  fr.  50,  1  fr.  Tickets  purchased  on 
board  the  steamers  cost  lU  c.  more  in  each  case.  Ordinary  return-tickets 
are  valid  for  two  days,  Sun.  return-tickets  for  3  days.  Return-tickets,  valid 
for  8  days,  are  issued  from  the  chief  stations  on  the  lake  to  Milan  (steam- 
er to  Laveno,  thence  K.  Railway  via  Varese);  fares  13  fr.,  9  fr.  iO,  5  fr. 
60  c.  (Sunday  return-tickets  8  fr.  50 ,  6  fr.  20,  3  fr.  90  c).  —  Steamboat 
Stations  are  indicated  in  the  following  description  by  heavier  type.  The 
following  stations  are  not  always  touched  at:  Maijadino.  Ascona,  Ranzo, 
Maccagno ,  Cannero  ,  Oggebbio ,  Gkiffa ,  Porto  Valtravaglia ,  Suna ,  and  Isola 
Superiore.  —  The  Italian  customs  examination  takes  place  between  Bris- 
sago  and  Cannobio,  the  Swiss  between  Brissago  and  Magadino,  both  on 
board  the  steamers. 

Fkom  Bbllinzona  to  Locabno  (fares,  see  p.  190).  The  train 
follows  the  Lugano  line  (p.  8)  as  far  as  (2'/2  M.)  Oiubiasco ,  then 
diverges  to  the  right  and  traverses  the  broad  valley  of  the  Ticino, 
which  enters  Lago  Maggiore.  —  S'/a  M.  Cadenazzo,  the  junction 
of  the  line  skirting  the  E.  bank  of  the  lake  to  Luino,  Novara,  and 
Genoa  (R.  30).  —  The  Locarno  branch  crosses  the  Ticino  beyond 
Cugnasco  (on  the  right),  and  the  Verzasca,  which  dashes  forth  from 
a  gorge  on  the  right,  beyond  (11  M.)  Gordola-Val  Verzasca.  It  then 
skirts  the  Lago  Maggiore  to  (ISl/o  M.)  Locarno. 

Locarno  (H.).  —  The  Railway  Station  (Restaurant)  is  at  Murallo, 
4  min.  from  the  pier  and  from  the  Piazza  Grande. 

Hotels.  At  Muralto  (all  with  gardens):  'Gkand  Uotkl  Locarno  (PI.  a), 
near  the  station,  with  elevator,  steam-heating,  and  English  Chapel,  R.  from 
41/2,  B.  IV2,  dej.  3i/-.>,  D.  5,  pens.  9-14,  omu.  1  fr.,  many  English  visitors; 
'Hot. -Pens.  Rebek,  with  lift  and  steam-heating,  R.  21/2-5,  B.  li/i,  1>.  31/2, 
S.  2V2,  pens.  (L.  extra)  7-12,  omn.  '/^  fr.,  C|uite  German;  "Hot. -Pens.  Bead- 
RiVAGE  &  Anglexekue,  R.  2-4,  B.  I'/i,  dej.  2V2,  D.  3'/2,  pens.  6-12,  omn. 
V4  fr.;  these  two  are  on  the  lake-road,  1/2  M.  to  the  E.  of  the  pier;  ZOk- 
CHEK110K  Au  Lac,  R.  from  3,  B.  l'/,,  D.  3,  S.  2,  pens.  6-10,  omn.  Vj  fr- ; 
'Hotel  du  Pakc  (Pl.  b),  on  the  road  to  Minusio,  with  lilt  and  steam- 
beating,  R.  from  2'/2,  B.  IV4,  rte'j.  21/2,  D.  31/2,  pens,  from  7,  omn.  V2  fr. ; 
"Hot. -Pens.  Belvedere,  in  a  high  situation,  on  the  way  to  the  Madonna 
del  Sasso  (p.  192),  R.  1V2-3,  B.  1,  D.  3,  S.  2,  pens.  0V2-8,  omn.  1  fr.  — 
At  Locarno:  'Hot.  MStkopole  (PI.  d),  with  steam-heating,  R.  from  2V2, 
B.  iV2,  d^j.  8,  D.  4.  pens,  from  6,  omn.  V2  fr. ;  "Hot.  du  Lac  (PI.  e),  near 
the  pier,  with  cafe-restuurant,  R,  2-4,  B.  IV4,  !>.  3,  S.  21/2,  pens.  6-9  fr., 
suitable  for  passing  tourists;  Hot.  Suis.sk  et  Italie  (PI.  f).  with  steam- 
heating  (V2  Ir.)  and  restaurant,  R.  from  2,    B.  I'/i,  Jtj.  2',2,  D.  31/2,  pens. 


192   Route  31.  LOCARNO.  Lago  Maggiore. 

from  61/2  fr-,  Italian,  very  fair,  these  three  in  the  Piazza  Grande ;  Albekgo 
Bektini  (PI.  g),  with  restaurant  (Milanese  cuisine),  R.  from  V/2  fr. 

Pensions  (usually  in  open  situations  with  gardens;  some  closed  in 
summer).  F.  Villa  Erica,  in  an  elevated  situation  on  the  road  to  the  Ma- 
donna del  Sasso,  fiom5fr. ;  P.  Villa  Mur alio,  behind  the  Gr.  Hot.  Locarno, 
5-6  fr. ;  P.  Quisisana,  on  the  road  to  Orselina;  P.  Villa  Liberlci.  5-7  fr. ; 
P.  Belvelia,  5-7  fr. ;  P.  Villa  Myosotis,  5-6  tr.,  both  near  the  Protestant 
church;  P.  Villa  Noris,  b-1  f r. ;  P.  Villa  Camelia;  all  these  are  at  Muralto  ; 
P.  Graf,  P.  Villa  Rossa,  5-6V2  fr.,  P.  Villa  Bel/orU,   these  tLree  at  Slinusio. 

Restaurant.  Jlisiorante  San  Oottardo  (with  beds),  behind  the  Hot.  du 
Lac,  Italian.  —  Cafes.    C.  Locarno,  C.  Svizzero,  both  iu  the  Piazza  Grande. 

Post  &  Telegraph  Office,  Piazza  Grande;  branch-ol'flce  near  the  station. 

Money  Changers :  Banca  Svizzcra  Americana,  lianca  Credilo  Ticinese, 
bo(h  in  the  Piazza  Grande. 

Baths.  Stabilimenio  Rimoldi,  near  the  gas-work.",  with  1  rout- breeding. 
—  Rowing  Boats,  '/^It.,  i  fr.,  1  hr.  l'/2  fr.,  each  additional  hr.  1  fr. 

Cable-Kailwai'  to  the  Madonna  del  Sasso  (see  below),  starting  every 
1/4  hr.  from  the  lower  station,  in  the  street  leading  to  the  railway-station, 
halfway  between  it  and  the  pier,  and  stopping  at  the  church  ;  the  terminus 
lies  7  min.  above  the  church  on  the. road  to  Orselina  (p.  193).  Fares,  up 
75  or  50,  down  50  or  35  c,  return  1  fr.  or  TO  c. 

Motok-Omnibus  thrice  daily  via  Pallanza  (p.  197;  2  hrs.,  4  fr.)  to  the 
stations  of  Pallanza- Fondo  Toce  (p.  5;  2V2  hrs.,  3  fr.  60  c.)  and  Oravellona 
(p.  69;  3  fr.  hO  c).  —  Elkctkic  Light  Railway  ('Maggia  Valley  Railway') 
to  (171/2  M.)  Bignasco  (opened  in  1906). 

Climate.  Owing  to  its  sheltered  and  sunny  position  on  the  8.  .''lopes 
of  the  lofty  and  uninterrupted  ridge  of  the  Poncione  di  Trosa  (6120  ft.), 
Locarno  has  of  late  years  become  a  frequented  health-resort,  especially 
for  German  and  Swiss  visitors.  The  quarter  chiefly  selected  for  this 
purpose,  with  most  of  the  hotels  and  fine  gardens  with  sub-tropical  vege- 
tation, is  Muralto,  situated  immediately  beside  the  lake,  to  the  E.  of  the 
Ramogna.  —  Mean  winter-temperature  37°  Fahr. ;  annual  rainfall,  75.5  inches. 

Locarno  (680  ft. ;  pop.  3600),  suitable  for  a  prolonged  stay,  is 
situated  on  the  N.  shore  of  the  lake,  at  the  mouth  of  the  Maggia, 
the  deposits  of  which  have  formed  a  considerable  delta.  In  the 
middle  ages  Locarno  belonged  to  the  bishops  of  Como  and  after- 
wards to  Milan.  It  has  been  Swiss  (Canton  Ticiuo)  since  1513, 
but  the  character  of  the  architecture,  scenery,  and  population  is 
Italian.  The  expulsion  of  the  Protestants  in  1553  arrested  the  devel- 
opment of  the  town. 

From  the  pier  we  may  proceed  to  the  S.  E.  to  the  Lake  Prome- 
nade (Quai  di  Locarno  luugo  Lago),  on  the  E.  shore  of  the  Maggia 
promontory  (views),  or  to  the  W.  to  the  Piazza  Grande,  or  market- 
place, in  which  are  the  former  Qovernment  Buildings,  the  Town  Hall, 
and,  every  other  Thurs,  a  large  market.  —  At  the  S.W.  end  of  the 
town  is  the  old  Castello  of  the  Visconti,  besieged  in  vain  by  10,000 
Swiss  in  1502,  partly  demolished  in  1518,  and  now  occupied  as  a 
law-court  and  prison.  Close  by  are  the  remains  of  the  old  harbour 
and  the  primary  school,  with  the  Mu7iicipal  Museum. 

At  Muralto  (1700  inhab.)  is  the  old  parish-church  of  San  Vitiore 
(rebuilt  in  the  12th  cent.),  with  an  ancient  crypt.  On  the  tower  is 
a  large  relief,  probably  representing  St.  Victor  on  horseback. 

A  Cable  E.\ilwat  (see  above,  opened  in  lEOG)  ascends  from  Locarno 
to  the  pilgrimage -church  of  "Madonna  del  Sasso  (1165  ft.),  on  a  wooded 
eminence  above  the  town,  founded  in  1569.  The  ascent  for  pedestrians 
0/-i  hr.)  leads  from  the  Piazza  Grande  by  the  Via  delle  Monache  and  then 


Doiuodossula.*CenUj\-:Uli 


Lago  Maggiore.  BRISSAGO.  31.  Route.   193 

by  a  steep  paved  path  passing  to  the  left  of  tbe  'Scuola  Normale  Feinini- 
nile\  The  church  contains  an  Entombment,  hy  Ciseri  (to  the  left),  and  a 
Flight  into  Egypt,  by  Bramantino  (to  the  right).  —  Passing  through  the 
convent- building?,  turning  to  the  left  again  across  an  iron  footbridge, 
and  ascending  rapidly,  we  reach  (5-6  min.)  a  Chapel,  commanding  a  charm- 
ingly picturesque  retrospect  of  tbe  Madonna  del  Sasso.  Still  higher  up 
is  the  chapel  of  the  Santissima  Trinilh  dei  Monti  (1325  ft.-,  restaurant), 
8  min.  to  the  S.W.  of  the  railway -terminus,  whence  we  have  a  view  of 
the  upper  part  of  the  1-ago  Maggiore.  The  whole  walk  (best  towards 
evening)  may  be  easily  made  in  l'/2  hr. 

ExcuEsioNS.  To  the  E.  by  the  Muralto  Lake  Promenade  (Quai  di 
Muralto  lungo  Lago)  to  (25  min.)  Hivapiana.  —  To  the  N.W.  to  (V4  hr.1  Sol- 
duno,  then  up  the  left  bank  of  the  Maggia  to  the  (1  hr.)  Ponte  BroUa  (845  fl.), 
with  new  electricity -works.  —  From  Solduno  to  the  S.W.,  crossing  the 
Maggia,  to  (20  min.)  Losone,  with  large  wine-cellars  (good  wine),  or  to  (1/2  hr.) 
Asconah&e.  below)  and  by  the  bank  of  the  lake  to Ronco  and  (P/ihr.) Brissago 
(see  below).  The  route  'over  the  hill'  from  Losone  to  Ronco  is  still 
more  picturesque.  —  To  the  N.  by  tbe  road  via,  the  Sandssima  Trinila  dei 
Monti  (see  above;  1  hr.)  or  from  the  terminus  of  the  cable-railway  (1/4  hr.) 
to  the  beautifully  situated  mountain-hamlet  of  Orselina  (1495  ft.;  Hdtel- 
Kurhavs  Orselina,  German,  R.  from  II/2,  B.  I1/4,  D.  3,  S.  2,  pens,  from  6  fr. ; 
Pens.  Mirqfiori,  with  open-air  restaurant,  pens.  4'/2-5  fr.,  very  fair)  and 
on  to  (i/ahr.)  Brione  (1420  ft.),  with  fine  view.  About  IV2  hr.  above  Orselina, 
on  the  Monte  San  Birnavdo,  lies  the  Hotel  Alpenheim  (ca.  3280  ft.;  pens. 
6-6  fr.,  plain  but  good).  —  To  the  N.E.  via  Contra  through  the  gorge  of 
the  Verza^ca  (p.  191)  to  (2  hrs.)  Mergoscia. 

Tho  *Lago  Maggiore  (635  ft.;  greatest  depth  1220ft.),  the Lacus 
Verhanus  of  the  Komans ,  is  about  40  M.  long  and  averages  2-3  M. 
in  width  (area  82  sq.  M.  1.  It  seems  to  owe  its  existence  to  some 
t;reat  lateral  movement  of  the  S.  Alps,  for  on  its  E.  bank,  near  Luino 
and  Laveno,  the  S.  Alpine  limestone  zone  abruptly  terminates.  The 
N.  part  of  the  lake  belongs  to  Switzerland;  the  W.  bank  beyond  the 
brook  Valmara  and  the  E.  bank  beyond  the  Dirinella  belong  to 
Italy.  Its  principal  tributaries  are  on  the  N.  the  Ticino  (Tessin)  and 
the  Maggia,  and  on  the  W.  the  Tosa  (pp.  4,  198).  The  river 
issuing  from  the  S.  end  of  the  lake  retains  the  name  of  Ticino.  The 
banks  of  the  N.  arm  are  bounded  by  lofty  mountains,  for  the  most 
part  wooded,  whilst  the  E.  shore  towards  the  lower  end  slopes  grad- 
ually away  to  the  level  of  the  plains  of  Lombardy.  The  water  is 
of  a  green  colour  in  its  N.  arm  and  deep  blue  towards  the  S. 

Opposite  Locarno ,  at  the  mouth  of  the  Ticino,  lies  Magadino 
(R. ;  Pens.  Viviani,  41/2-5  fr.,  on  the  lake;  Ristor.  San  Gottard')), 
comprising  two  villages,  Magadino  Inferiore  and  Superiore,  at  the 
foot  of  Monte  Tamaro  (p.  15). 

To  the  S.  of  Locarno  we  have  a  view  into  the  valley  of  the  Maggia. 
Farther  on  the  W.  bank  of  the  lake  is  studded  with  country-hoizses, 
villages,  and  campanili.  On  the  bank  of  the  lake  runs  the  road  from 
Locarno  to  Pallanza.  In  an  angle  lies  Ascona  (B.),  with  a  ruined 
castle  and  several  villas ;  higher  up,  on  the  slope,  Ronco.  Passing 
the  two  small  Isole  di  Brissayo,  the  steamer  reaches  Gera  and  Ranzo 
(R.)  on  the  E.  bank.  —  On  the  W.  bank  lies  Brissago  (Grand  Hotel, 
on  the  lake,  R.  from  31/2  fi"-,  15. 1V2^  'l''J-  3V2-4,  •>•  5-6,  pens,  from 
10  fr.,  new;  *Hotel  Suisse),  the  last  Swiss  station,  with  picturesque 

BAiiUEKEK.   Italy  I.    13th  Edit.  13 


194   Route  31.  LUINO.  Lago  Maggiore. 

villas  in  luxuriant  gardens,  and  a  fine  group  of  old  cypresses  near 
the  ehurcli.  The  slopes  ahove  are  covered  with  vines,  flg- trees, 
olives,  and  pomegranates,  and  even  the  myrtle  flourishes  in  the 
open  air.  A  pleasant  route  leads  to  Madonna  del  Monte^  with  its 
chalyheate  spring.  —  To  the  S.  of  Brissago,  near  the  'international' 
tohacco  factory,  is  a  small  Renaissance  church  in  the  Lomhard  style. 
About  3/4  M.  up  the  valley  is  a  mineral  spring.  Extensive  panorama 
from  the  Monte  Gridone  (7860  ft.). 

Opposite  Brissago,  on  the  E.  bank,  which  belongs  to  Lombardy, 
lies  the  Italian  village  of  Pino  (R.). 

On  the  W.  bank ,  which  belongs  to  Piedmont  (p.  25),  lie  Sant' 
Agata  and  Cannobio  (^Eotel  Cannohio  et  Savoye,  on  the  lake,  R.  1 1/2- 
372,  B.  II/4,  de'j.  21/2,  D.  31/2,  pens.  5-8  fr. ;  Albergo  delle  Alpi, 
moderate,  *Pens.  Villa  Badia,  IV2  M.  to  the  S.,  260  ft.  above  the 
lake,  pens.  6-7  fr,).  Cannobio  (2500  inhab.)  is  one  of  the  oldest 
and  most  prosperous  villages  on  the  lake,  situated  on  a  plateau  at 
the  entrance  of  the  Val  Cannobina ,  and  overshadowed  by  richly 
wooded  mountains.  Near  the  pier  stands  the  early- Renaissance 
church  of  the  Santuario  delta  Santisshna  Pieth,  in  the  style  of  Bra- 
mante ;  the  dome  and  the  octagonal  choir  are  by  Pellegrino  Tibaldi 
(1571) ;  at  the  high-altar  is  a  *Bearing  of  the  Cross,  by  Gaud.  Ferrari 
(about  1525).  —  Cannobio  is  the  station  of  the  Italian  'torpedo- 
boats'  in  the  preventive  service. 

Pleasant  walk  of  1/2  hr.  (also  omn.)  up  the  beautiful  Val  Cannobina  to 
the  hydropathic  of  La  Salute  (open  June  10th  to  Oct.  1st),  and  thence  via 
Traffiume  to  the  (20  min.)  Orrido,  a  rocky  chasm  with  a  waterfall  to  which 
boats  can  ascend  (boatman  to  be  brought  from  Traffiume,  '/2-I  fr.)-  Thence 
via  Santa  Maria  Maggiore.,  in  the  Vigezzo  valley,  to  Domodossola,  see  Baedeker^i 
Switzerland.  —  A  walk  along  the  road  to  (41/2  M.)  Cannero  (p.  195)  may  also 
be  strongly  recommended. 

The  steamer  now  steers  to  the  E.  bank  (to  the  "W.  the  Castelli 
di  Cannero  appear  in  the  lake ;  p.  195),  and  stops  at  Maccagno 
(R.),  which  has  two  stations:  Maccagno  Superiore  (B.),  to  the  N. 
of  the  Giona,  and  Maccagno  Inferiore  (Alb.  della  Torre),  with  a  pic- 
turesque church  and  an  ancient  watch-tower.  Hence  we  may  visit 
the  (2  hrs.)  loftily  situated  Lago  d'Elio  (2950  ft. ;  rfmts. ;  fine  view). 
Farther  on  the  viaducts  and  tunnels  of  the  Bellinzona  and  Genoa 
line  are  seen  skirting  the  lake.  Passing  Colmegna,  in  a  wooded 
ravine,  we  next  reach  — 

Luino  (R.).  —  The  Steamboat  Pier  adjoins  the  waiting-room  (d^j. 
2V2,  D.  4J/2  fi".)  of  the  Steam  Tramway  to  Pontt  Tresa  (Lugano;  see  p.  9). 
By  passing  to  the  left  of  this  station  and  to  the  right  of  the  statue  of 
Garibaldi,  following  the  wide  Via  Principe  di  liapoli  for  9  min.,  then 
turning  to  the  left,  we  reach  in  3  min.  more  (omnibus  40,  trunk  50, 
smaller  package  25  c.)  the  Stazione  Internazionale,  the  station  of  the 
Bellinzona  and  Genoa  line,  where  the  Italian  and  Swiss  custom-house 
examinations  take  place  (Restaurant,  very  fair,  ddj.  2-272,  D.  3-4  fr., 
incl.  wine). 

Hotels.  'Grand  Hotel  Simplon  et  Terminus,  on  the  lake,  to  the  S.W. 
of  the  town,  with  steam-heating  and  garden,  R.  3-5,  B.  I1/2,  d€j.  31/2,  D.  5, 
pens.  8-12,  omn.  1  fr. ;  Hotel  de  la  Poste  et  Suisse,  R.  2-3,  B.  I'/*,  dej. 


Lago  Maggiore.  LAVENO.  31.  Route.    195 


2V2-3,  D.  31/2-4,  pens.  7-8  fr.,  omn.  60  c.;  Albergo  ■Vittori.\,  R.  2V 
11/4,  d^j.  2Vzi  !*•  ^1  pens.  7-8,  omn.  '/«  fr. ;  Hut.  Ancoka  et  Belli 
R.  2-3,  B.  I'/i,  dej.  3,    D.  4  fr.,   iacl.  wine,    these  three  near   the   st 


Albergo  ■Vittori.\,  R.  21/2,  B. 
Ancoba  et  Bellkvde, 
steam- 
boat-pier; Hot.  MftTEOPOLE,  R.  from  l'/2  fr. ;  Alb.  Garibaldi,  plain  but 
good.  —  Kear  the  Stazione  Internazionale:  Alb.  Milano,  R.  2,  B.  1,  d€j.  2, 
D.  3,   pena.  7  fr.,   incl.  wine.  —  Cafi  Clerici,  next  the  Hotel  de  la  Poste. 

Luino  (690  ft.),  a  pleasant  and  busy  town  with  3800  inhab.,  is 
situated  a  little  to  the  N.  of  the  junction  of  the  Margorabbia  with 
the  Tresa  (p.  184).  The  Statue  of  Oaribaldi,  near  the  pier,  com- 
memorates his  brave  but  futile  attempt  to  continue  the  contest  here 
with  his  devoted  guerilla  band  after  the  conclusion  of  the  armistice 
between  Piedmont  and  Austria  on  Aug.  15th,  1848.  The  church  of 
San  Pietro,  in  the  S.W.  of  the  town,  contains  injured  frescoes  by 
Bernardino  Luini  (ca.  1470-  ca.  1532),  said  to  have  been  a  native  of 
the  place.  Among  the  numerous  tasteful  villas  in  the  vicinity  is 
the  Palazzo  Crivelli,  to  the  N.,  surrounded  by  pines. 

Pleasant  walk  to  Maccagno  (p.  194).  —  At  the  month  of  the  Tresa, 
'/«  M.  to  the  S.W.,  lies  Qermignaga,  with   large   cotton  and  silk  factories. 

Electric  light  railway  via  Cunardo  to  Bettole  (  Varese),  see  p.  187. 

On  the  "W.  bank  rise  two  grotesque-looking  castles  (Castelli  di 
Cannero),  half  in  ruins,  the  property  of  Count  Borromco.  In  the 
i5th  cent,  they  harboured  the  five  brothers  Mazzarda,  notorious 
brigands,  the  terror  of  the  district.  —  Caniiero  (*Alb.  d' Italia,  pens. 
5-6  fr. ;  Hot.-Pens.  Nizza;  Alb.  Reale,  all  three  on  the  lake;  Alb. 
San  Remo,  in  the  village)  is  beautifully  situated  on  the  sunny  S. 
slopes  of  Monte  Carza,  in  the  midst  of  vineyards  and  orchards.  On 
the  edge  of  tlie  rock,  I/2  hr.  to  the  W.,  is  the  mountain-village  of 
Oggiogno  (Ilistor.  del  Belvedere,  with  pension),  affording  fine  views. 
—  We  nest  pass  the  little  village  of  Barbl,  with  its  slender  cam- 
panile, then  Oggebbio  {Rislor.  delta  Posta,  with  pens.),  built  in 
terraces  on  the  mountain  slopes,  amid  chestnut  woods  and  rich 
vegetation,  both  on  the  W.  bank,  and  Porto  Valtravaglia  (R. ; 
Osteria  Antica^  on  the  E.  In  a  wooded  bay  to  the  S.W.  of  the  last 
lies  Calde,  with  the  ancient  tower  of  the  Castello  di  Calde  on  an 
eminence.  At  GhiSa.  ( Hotel  Ohiffa,  pens.  6  fr.,  very  fair;  Albergo 
Centrale),  on  the  W.  bank,  the  green  Sasso  di  Ferro  (p.  196) 
appears  to  the  S.,  ami  in  clear  weather  a  magnificent  *View  is  ob- 
tained of  the  Monte  Rosa  and  Slmplon  groups  in  the  distance. 
Then,  to  the  R.,  — 

Laveno  (R.;  Posta,  at  the  E.  end  of  the  town,  no  view,  R.  2^/2, 
B.IV4,  dej.  or  D.  21/2-8  fr. ;  Moro,  near  the  quay,  R.  2  fr.,  both 
Italian,  very  fair),  situated  at  the  foot  of  the  Sasso  di  Ferro,  on  a 
bay  at  the  mouth  of  the  Boesio,  formerly  a  fortified  harbour  for  the 
Austrian  gun-boats.  Laveno(1800inhab.)  is  adapted  for  aprolonged 
stay  on  account  of  its  beautiful  situation  and  ample  railway  and 
steamer  facilities.  The  quay  is  close  to  the  station  of  the  Ferrovie 
Nord,  while  that  of  the  Rete  Mediterranea  lies  1/2  M.  farther  on  in 
the  same  direction  (omn.  30  c).  A  monument  near  the  quay  com- 
memorates the  Garibaldians  who  fell  in  1859.  The  site  of  Fort  San 

13* 


196    Route  31.  INTEA.  Logo  Maggiore. 

Michele  (to  thf  left  as  the  steamer  approaches)  is  now  occupied  by 
a  pottery  helonging  to  the  Societal  Cernmicn  Itnliana.  Ahove  it  is 
the  Villa  PuU'e  (tine  views),  which  contains  a  few  relics  of  1859. 

Behind  Laveno  rises  the  green  Basso  di  Ferro  (3485  ft.),  the  most 
beautiful  mountain  on  the  lake,  easily  ascended  in  21/2-3  hrs.  (red  way- 
marks),  and  commanding  a  magnificent  view  of  the  lake,  the  plain  as  far 
as  Milan,  and  the  Monte  Rosa  chain.  —  About  6  M.  to  the  N.E.  of  Laveno, 
behind  the  Sasso  di  Ferro,  lies  the  hamlet  of  Vararo  (2380  ft.),  whence 
we  may  ascend  the  "Monte  Nudo  (4052  ft.;  li/2  hr.),  perhaps  the  finest 
view-point  in  the  district,  commanding  an  imposing  survey  of  the  Lago 
Maggiore,  the  Lago  di  Lngano,  the  Lago  di  Varese,  and  the  Valaisian  Alps. 
—  Interesting  excursion  to  the  convent  of  Santa  Caterina  del  Sasso, 
l'/4  hr.  from  Laveno,  high  above  the  lake.  We  may  go  either  by  land 
(carr.  5  fr.)  via  Cerro,  to  which  a  road  diverges  to  the  right  beyond  the 
bridge  over  the  Boesio  and  a  little  short  of  the  Mediterranean  station 
(p.  195),  and  thence  by  a  picturesque  footpath;  or  direct  by  boat  (3  fr.) 
from  Laveno.  Imbedded  in  the  vaulted  roof  of  the  church  is  a  rock, 
which  fell  upon  it  in  the  17th  century.  View  of  the  Borromean  Islands 
and  the  snow  mountains  to  the  W. 

From  Laveno  to  the  Borromean  Islands  and  Pallanza  (pp.  199,  197),  boat 
with  three  rowers,  10-12  fr. ;  to  Isola  Bella  IV2  hr. ;  thence  to  Isola  Madre, 
20  min.,  to  Pallanza  20  min.  more. 

Railway  (Ferrovie  Nord)  from  Laveno  via  Varese  to  Como,  see  p.  170; 
to  Milan  via  Varese  and  Saronno,  see  R.  29 ;  to  Porto  Ceresio  (Lake  of  Lu- 
gano) via  Varese,  see  RR.  29,  28.  State  Railway  to  Milan  via  Gallarate, 
see  p.  185 ;  to  Bellinzona  and  Oenoa,  see  R.  30. 

The  steamboat  now  approaches  the  W.  bank  again,  after  dis- 
closing a  view  of  the  N.  neighbours  of  Monte  Rosa:  first  the  Strahl- 
horn,  then  the  Mischahel  and  Simplon  group. 

Intra  (685  ft. ;  *H6tel  de  la  Ville  et  Poste,  R.  21/2-3 V2,  B-  IV4  fr. ; 
Hotel  Intra;  Alb.  Agnello;  Caffe  Mo7iti),  a  flourishing  town  (6900 
inhab.)  with  numerous  monuments,  is  situated  on  alluvial  soil, 
between  the  TorrenteSan  Giovanni  and  the  Torrente  San  Bernardino . 
These  two  mountain-streams  afford  the  water-power  for  numerous 
cotton-mills,  silk-mills,  hat-factories,  foundries,  etc.,  chiefly  belong- 
ing to  Swiss  proprietors.  In  the  vicinity  are  several  fine  villas.  The 
*Villa  Franzosini  (Count  Barbo),  '/2M.  to  the  N.E.  (adm.  on  week- 
days; gratuity),  and  the  Villa  Ada  of  M.  Ceriani,  3/^  M.  farther  on, 
are  both  noteworthy  for  their  luxuriant  gardens. 

Pleasant  walk  from  Intra  to  the  N.  by  a  good  road  (omn. ;  carr.  16  fr.,  with 
2  or  3  horses,  25  fr. ;  shaded  short-cuts  for  walkers),  via  Arizzano  (1540  ft.) 
to  (38/4  M.)  Bee  (1950  ft.;  "Alb.  Bde;  Anglo  Bar  Restaurant),  with  a  fine 
view  of  Lago  Maggiore,  and  to  (3  M. )  Premeno  ('J()50  ft. ; ''  H6t.-Pens.  Premeno, 
pens.  8  fr. ;  Alb.-Eistor.  Vittoria;  Ristor.  Tornico,  with  rooms),  a  summer- 
resort  of  the  jSIilanese.  Above  it  (10  min.)  is  the  Tornico,  a  platform  laid 
out  in  honour  of  Garibaldi,  with  a  good  spring.  About  V4  br.  higher  is 
the  Bellavista,  commanding  an  admirable  view  of  the  Alps,  the  lake,  and 
the  beautiful  and  fertile  Val  Intragna  to  the  W. 

To  the  S.  of  Intra  the  Punta  Castagnola,  with  its  wealth  of 
luxuriant  vegetation,  stretches  far  into  the  lake.  As  soon  as  we 
double  the  cape  and  enter  the  wide  W.  bay  of  the  lake,  we  obtain 
a  *View  of  the  Borromean  Islands  (p.  199)  :  near  the  S.  bank  is  the 
Isola  Bella,  to  the  W.  of  it,  the  Isola  del  Pescatori,  in  front,  the 
Isola  Madre.    The  little  Isola  San  Giovanni  (no  adm.),  close  to  the 


Lago  Maggiore.  PALLANZA.  31.  Route.   197 

N.  bank,  with  its  chapel,  house,  and  garden,  is  also  one  of  the  Bor- 
romean  Islands.  Behind  the  Isola  dei  Pescatori  rises  the  blunt 
pyramid  of  the  Mottarone  (p.  201);  farther  to  the  W.  appear  the 
white  quarries  near  Baveno ;  while  the  background  is  filled  up  by 
the  snow-clad  mountains  between  the  Simplon  and  the  Monte  Rosa. 

Fallanza.  —  Hotels  (lifts  and  steam -heating  in  the  larger  houses). 
'Gkand  Hotel  Pallanza,  on  the  road  to  the  Panta  Castagnola,  '/'•'  M.  from 
the  landing-place,  with  several  dependances,  large  grounds,  and  railway 
booking-oflice,  R.  4-7,  B.  i'/'i,  dej.  3-4,  1).  5-6,  music  '/ji  lake-bath  1,  pens. 
in  summer  TVz-i-'/^j  i"  winter  T'/a-JO,  omn.  l-l'/4  fr. ;  'Grand  Hotel  Eden, 
3  min.  farther  on,  on  the  Punta  Castagnola,  with  garden  and  opt  n  view, 
R.  3V2-7,  B.  I'/z,  dej.  3,  D.  5,  pens.  9-14,  omn.  li/j  fr.  —  'MUtrovole, 
with  small  garden  on  the  lake,  R.  from  3,  B.  I'/z,  dej.  3,  D.  4-5,  pens, 
(for  nut  less  than  a  fortnight)  from  8,  omn.  ^jifr.  —  Hot-Pens.  Bellevue, 
R.  2-4,  B.  1'/4,  dej.  3,  D.  3Vi-4,  pens.  6-9  fr.,  very  fair;  Hot.  San  Gottardo 
<t  Pens.  Sdissb,  R.  from  2,  B.  U/i,  dej.  21/2,  D.  3'/2,  pens,  from  5  fr.,  very 
fair;  ScHWKizERHOF,  with  restaurant,  R.  from  2,  B.  li/^,  dej.  2'/z,  D.  3, 
pens,  from  6  fr.,  these  three  near  the  quay.  —  Pens.  Villa  Castagnola, 
to  the  E.,  in  the  direction  of  the  Punta  Castagnola,  with  steam -heating 
and  garden,  R.  1V2-4,  B.  ii/4,  D.  3,  S.  2,  pens.  6V2-IO  fr.  ;  Pens.  ViLf.A 
Maccjioue.  —  Caf^  Bolongaro^  near  the  steam-boat  pier. 

Post  &  Telegraph  Office,  Via  Cavour  12.  —  Physician.    Dr.  Hildepohl. 

Boat  with  one  rower  to  the  Isola  Madre  and  back  21/2,  with  two  4, 
to  Isola  Bella  and  back  3'/2  or  6;  to  both  islands  and  back  or  to  Stresa 
and  back  4  or  7;  to  Laveno  and  back  or  to  Santa  Caterina  del  Sasso  and 
back  5  or  9  fr.    Comp.  also  p.  173. 

Cabs.  Per  hr.,  with  one  horae,  for  2  pers.  3  (3  pers.  4)  fr.,  with  two 
horses  6  fr. ;  to  the  stations  of  Pallanza-Fondo  Toce  and  Gravellona  5,  7, 
or  10  fr. ;  to  Lago  di  Mergozzo  and  round  the  Mont'  Orfiino  7,  9,  or  12  fr.  ; 
to  Premeno  15  or  25  fr.    The  cabmen  standing  at  the  pier  generally  ask  less. 

Motor- Omnibus  to  Locarno  and  to  the  stations  of  Pallanza-Fondo 
Toce  and  Gravelloua,  see  p.  192  (stopping  at  the  Alb.  San  Gottardo).  — 
Diligence  (office  opposite  the  Alb.  San  LJottardo)  to  (6  M.)  Gravellona, 
G  times  daily,  in  1  hr.  (1  fr.). 

English  Church  Service  in  the  Grand  Hotel  Pallanza  (April-Oct.). 

Pallanza  (_660  ft.),  a  thriving  little  town  with  4600  inhab., 
delightfully  situated  opposite  the  Borromean  Islands,  commands  a 
view  of  them,  and  of  the  lake  as  far  as  the  snow-covered  Swiss  Alps 
(Portjengrat,  Weissinies).  As  the  most  sheltered  and  warmest  spot 
on  the  Lago  Maggiore,  it  enjoys  a  repute  as  a  winter-resort,  espe- 
cially as  an  intermediate  stage  between  the  Riviera  and  more 
northerly  climes.  Opposite  the  quay  is  the  market-place  (Piazza 
Garibaldi),  with  the  Municipio  and  the  church  of  San  Leonardo 
(I6th  cent.).  The  road  to  the  right  leads  past  the  villas  Mclzi  d'Erll 
and  Biffi  (right)  and  the  interesting  nursery-gardens  of /?oyeWi(left) 
to  the  Punta  Caiilagnola,  and  thence,  passing  the  villas  of  Messtorf, 
L'Eremitaygio  (Kaupe),  and  San  Remigio,  to  Intra  (p.  196).  The 
old  church  of  San  Remiyio  (rebuilt  in  1500;  key  at  San  Leonardo's) 
stands  by  the  laki>,  near  the  villa  of  the  same  name. 

From  the  market-place  the  Via  Cavour  and  then  the  broad  Viale 
Principe  Umberto  lead  straight  N.  to  the  Q/4  lir.)  domed  church  of 
the  Madonna  di  Campayna,  containing  frescoes  by  Gaud.  Ferrari 
(dome)  and  the  Procaccini  (choir  and  chapels).  The  church  lies  at 
the  foot  of  the  "Monte  Rosso  (2275  ft.),  which  is  ascended  from  the 


198   BouteSl.  BAVENO.  Logo  Maggiore. 

Trobaso  road  (see  telow)  in  13/4hr.,  by  a  carriage-route  to  the  left, 
or  from  Suna  (see  below)  in  2V2  ^rs.  by  a  new  road  via  Cavandone. 
Small  restaurant  at  the  top  (beautiful  view). 

CiEcciT  OF  THE  MoNTE  Rosso  (3>/2-4  hrs).  We  proceed  straight  on 
from  the  Madonna  di  Campagna  1o  the  (>/4  hr.)  Osieria  del  Plutc,  where 
we  cross  the  San  Bernardino  (p.  196);  20  min.  Intra  road;  6  min.  Trobaso; 
we  turn  to  the  left  in  the  village;  in  12  min.  the  road  forks,  the  right 
branch  leading  to  Unchio  (see  below),  the  left  (yellow  way-marks)  re- 
crossing  the  San  Bernardino  by  a  tine  bridge;  1/4  hr.  Santino,  beyond  which 
the  route  is  in  poor  condition;  1/2  hr.  Bieno;  then  by  a  steep  and  stony 
path  to  (I/2  hr.)  Cavandone  (see  above),  passing  by  the  pilgrimage-chnrch 
below  the  village,  and  thence  by  the  new  road;  the  lake  soon  comes  into 
view  once  more;  l'/2  hr.  Suna  (see  below).  —  By  following  the  right 
arm  of  the  road  (black  way-marks)  beyond  Trobaso  to  (1/4  hr.)  Unchio  and 
(40  min.)  Cossogno  (Alb.  Cossogno)  and  then  taking  the  'Via  Solferino''  (to 
the  left),  we  soon  reach  (stony  path)  the  (V4  br.)  Roman  Bridge  over  the 
romantic  gorge  of  the  San  Bernardino.  Paths  with  steps  lead  hence  to 
(1/4  hr.)  the  church  of  Rovegro.  To  reach  the  village  we  turn  to  the  right. 
In  the  village  we  turn  to  the  left  and  then  follow  a  stony  path  along  the 
ridge  in  the  direction  of  Santino  (see  above)  and  finally  ascend  to  the  right 
to  Bieno  (see  above). 

The  ascent  of  the  'Monte  Zeda  (7075  ft.;  8  hrs.;  green  way-marks)  is 
interesting.  The  road  leads  via  Trobaso  (see  above ;  turn  to  the  right  in 
the  village),  Camftiasca  (990  ft.),  and  Comero  to  the  (3  hrs.)  mountain-village 
oi  Miazzina  (2365  ft.;  Ristor.  Principessa  Elena),  whence  a  sunny  footpath 
ascends  to  the  (3  hrs.)  Pian  CavuUone  (5140  ft.;  Alb.  Nava,  plain,  20  beds). 
Making  an  early  start  next  morning,  we  proceed  via  the  Pizzo  Marona 
(6725  tt.)  to  the  (2  hrs.)  summit,  which  commands  a  wide  view. 

Comp.  also  the  excursions  from  Intra  (p.  196)  and  from  Laveno  (p.  196). 

To  the  W.  of  Pallanza  the  road  leads  along  the  lake  to  (1  M.) 
Sana  (^Alb.  Belvedere,  Alb.  Pesce  d'Oro,  both  plain ;  Ristor,  al  Mares- 
ciallo,  good  wine),  and  to  (3  M.)  Fondo  Toce,  situated  at  the  mouth  of 
the  impetuous  Tosa  (Toce),  where  the  road  to  the  Lago  diMergozzo 
(p.  4)  diverges  to  the  right.  4  M.  Pallanza-Fondo  Toce  (p.  6),  a 
station  on  the  Simplon  railway  (motor-omnibus  see  p.  192).  Farther 
on  we  skirt  ¥0711'  Orfano  (p.  4}  and  then  cross  the  Tosa,  by  a 
five -arched  bridge,  to  the  railway  -  station  of  Gravellona  (p.  69), 
G  M.  from  Pallanza  (diligence,  see  p.  197). 

In  the  S.W.  nook  of  the  bay  lies  Feriolo,  2^/4  M.  from  Gravellona. 
The  quarries  of  red  and  white  granite,  extending  along  the  hills 
between  Feriolo  and  Baveno,  have  for  ages  yielded  a  splendid  build- 
ing material,  which  has  been  used  for  the  columns  in  the  Cathedral 
of  Milan,  the  church  of  San  Paolo  fuori  le  Mura  at  Rome,  the  Galleria 
Vitt.  Em'anuele  at  Milan,  and  many  other  important  structures.  The 
quarries  are  worked  mainly  by  the  Delia  Casa  Company,  au  Euglish 
enterprize.  —  Then  — 

Baveno  (R).  —  Hotels.  'Grand  Hotel  Bellevue,  with  lift  and  steam- 
heating,  R.  3-7,  B.  11/2,  d^j.aVs,  D.  5,  pens.  9-12  fr.;  'Beaurivagb,  R.  2-5, 
B.  1,  dfej.  2,  D.  3,  pens.  5-9  fr.,  these  two  with  large  gardens.  —  Hot.  du 
Simplon,  with  garden,  R.  2-3,  B.  1,  dej.  2,  D.  3,  pens,  from  S'/z  fr.  (closed 
Dec-March.);  Hot.  Suisse  &  Iles  BoRROMfeES,  pens.  5-6  fr.,  with  restaurant, 
Italian,  very  fair,  recommended  to  passing  travellers;  Pens.  Eden,  at  the 
quay;  Pens.  Fedora,  well  situated.  —  Caffi  Ruffoni,  at  the  quay.  —  Boatb, 
comp.  pp.  173,  199.  —  Physician,  Dr.  P.  Borella. 

English  (Jhdrch  in  the  garden  of  the  Villa  Clara. 


Logo  Maggiore.      BORROMEAN  ISLANDS.      31.  Route.    199 

Baveno  (690  ft.),  a  small  place  commanding  a  fine  view  of  the 
bay,  is  situated  on  the  delta  at  the  mouth  of  a  streamlet  descending 
from  Monte  Mottarone  (p.  201).  It  is  frequently  chosen  for  a  stay 
of  some  time,  especially  in  the  warmer  months.  The  well-wooded 
mountain-slopes  between  Baveno  and  Stresa  (p.  200)  are  occupied 
by  beautiful  villas.  The  lofty  garden  of  the  Villa  Dora,  about  halfway, 
commands  a  fine  view  of  the  Borromean  Islands  (adm.  in  summer, 
Sun.  4-7  p.m. ;  no  fee). 

The  most  beautiful  feature  in  this  W.  bay  of  the  lake  is  formed 
by  the  *Borromean  Islands,  the  scenery  in  the  neighbourhood  of 
which  rivals  that  of  the  Lake  of  Como  in  grandeur  and  perhaps 
surpasses  it  in  softness  of  character.  The  westernmost,  the  Isola 
Superiore  or  del  Pescatori  (Ristor.  Belvedere,  R.  2,  de'j.  2^2)  ^-  ^Vsi 
pens.  6  fr. ;  Trattoria  del  Verbano,  plain  but  good),  is  almost  entirely 
occupied  by  a  fishing -village  (300  inhab.),  but  commands  some 
picturesque  views.  The  steamers  touch  here  only  occasionally,  but 
all  of  them  call  at  the  — 

*Isola  Bella  (^Hotel  du  Dauphin  or  Delfino,  R.  3,  B.  I74,  D.  4, 
pens.  7  fr.,  variously  judged;  Alb.  del  Vapore,  modest),  the  best 
known  of  the  four  islands,  which  was  formerly  a  barren  rock  with  a 
church  and  a  handful  of  cottages,  until  Count  Vitaliano  Borromeo 
(d.  1690)  converted  it  into  a  summer-residence  by  erecting  a  chateau 
and  laying  out  a  garden.  The  huge  unfinished  Chateau  contains  a  series 
of  handsome  reception-rooms,  a  gallery  hung  with  Flemish  tapestry 
of  the  17th  cent.,  and  a  collection  of  paintings,  mainly  copies  but 
including  a  few  good  Lombard  works  {Boltraffio,  Portrait;  t/ianpie- 
trino,  Lucretia  and  Cleopatra).  The  private  chapel  (adm.  by  special 
introduction  only)  contains  the  handsome  Renaissance  tombs  of 
Counts  Camillo  and  Govanui  Borromeo,  the  latter  partly  by  pupils 
of  Amadeo.  —  The  beautiful  Oarden,  laid  out  in  the  old  Italian  stylo, 
rises  in  ten  terraces  100  ft.  above  the  lake,  and  is  stocked  with 
lemon-trees,  cedars,  magnolias,  orange-trees,  laurels,  cork-trees, 
camellias,  magnificent  oleanders,  and  other  luxuriant  products  of 
the  south,  while  shell-grottoes,  arbours,  and  statues  meet  the  eye 
in  profusion.  The  traveller  coming  from  the  N.  cannot  fail  to  be 
struck  with  the  loveliness  of  the  bank  of  the  lake  as  seen  from 
here,  studded  with  innumerable  habitations,  and  clothed  with 
southern  vegetation  (chestnuts,  mulberries,  vines,  figs,  olives),  the 
extensive  lake  with  its  deep  blue  waters  and  beautiful  girdle  of 
snowy  mountains  combining  the  stern  grandeur  of  the  High  Alps 
with  the  charms  of  a  southern  clime.  —  The  island  is  open  to  the 
public  daily,  except  Mon.,  from  March  15th  to  Nov.  iSth,  from  9 
to  4.  A  servant  shows  the  apartments  (fee  1/2  f"".,  for  a  party  1  fr.), 
and  a  gardener  shows  the  garden  for  a  similar  fee. 

The  usual  charge  for  a  boat  from  Isola  Bella  to  Isola  Madre  and 
back  with  two  rowers  is  3  fr. 

The  *Isola  Madre  (not  a  steamboat-station),  also  belonging  to 


200  Route  31.  STRESA.  Lago  Mag g tore. 

the  Borromeo  family,  is  laid  out  in  the  English  style  and  far  excels 
the  Isola  Bella  in  the  luxuriance  and  variety  of  its  vegetation.  On 
its  S.  side  are  three  terraces  with  lemon  and  orange  trellises ;  on 
the  summit  is  an  uninhabited  'Palazzo' (beautiful  view).  The  island 
is  open  to  the  public  daily  froia  9  to  4  (fee  to  gardener  ^/^-i  fr.). 

Nearly  opposite  Isola  Bella,  on  the  W.  bank,  lies  — 

Stresa  (R).  —  The  Station  lies  1/2  M.  to  the  W.  of  the  quay,  on  the 
road  to  the  Monte  Mottarone  (see  below). 

Hotels.  "Gkand  Hotel  &  ues  Iles  Boreom6ks,  V2  M.  to  the  N.W.  of 
the  landing-place,  with  lift,  tourist-office,  and  beautiful  garden,  R.  4V2-IO, 
B.  IV2,  dej.  31/2,  D.  5,  pens.  (L.  extra)  10-18,  omn.  1  fr.  (closed  from  mid- 
Nov.  to  mid-March).  —  *U(jt.-Pens.  Beau-SiiJoub,  above  the  village,  on 
the  road  to  the  Collegio  Eosmini,  with  large  garden,  R.  21/2-5,  B.  I'A,  dej.  3, 
D.  441/2,  pens.  7-10,  ouin.  1  fr. ;  "Hotel  Milan  &  Kaisekhof,  with  restau- 
rant, R.  21/2-41/2.  B.  I'/j,  dej.  3,  D.  4,  pens.  7-12;  'Hot.  d'Italie  et  Pens. 
Suisse,  with  cafe-restaurant,  R.  2-21/2,  B.  IV4,  dej.  21/2,  1).  31/2,  pens,  (for 
not  less  than  3  days)  6-7  fr. ;  Alb.  Reale  Bolongako,  K.  2-2'/2,  B.  1,  dej.  3, 
D.  4,  pens.  6-7  fr.,  well  spoken  of;  Hot. -Pens.  Savoy,  with  good  restaurant, 
R.  from  11/2,  pens,  from  6  fr.,  these  four  near  the  quay;  Alb.  San  Got- 
TAKDo,  in  the  village,  with  garden,  K.  11/2-2,  B.  l'/4,  dej.  2,  D.  3,  pens. 
51/2-6  fr.,  Italian,  very  fair. 

Post  &  Telegraph  Office  in  the  Municipio,  at  the  quay. 

Boat  (barca)  with  one  rower  2  fr.  for  the  first  hour,  and  50  c.  for  each  ad- 
ditional 1/2  hr. ;  to  Isola  Madre  and  Isola  Bella  and  back,  with  one  rower,  41/2  fr. 

English  Church  Service  at  the  Hotel  des  lies  Borromees  (April-Sept.). 
—  English  Physician,  Dr.  Dancers  (from  April  to  June  Jst). 

Stresa  (690  ft. ;  pop.  1500),  cooler  and  more  breezy  than  the  other 
places  on  the  lake,  occupies  a  picturesque  and  attractive  situation, 
with  the  country-houses  of  many  of  the  Italian  noblesse,  and  is  a 
suitable  spot  for  a  lengthened  stay  during  the  summer  months.  The 
Villa  Ducale,  on  the  lake,  adjoining  the  church  of  San  Pietro  on  the 
W.,  belongs  to  the  Duchess  of  Genoa.  —  About  10  min.  above  the 
village,  to  the  S.  (reached  by  ascending  from  the  Alb.  Bolougaro), 
stands  the  Collegio  Kosmini  (875  ft.),  a  Rosminiau  seminary.  The 
church  contains  the  monument  of  the  philosopher  and  statesman 
Ant.  Rosmini  (1797-1855),  by  Vela.  The  front  of  the  church  com- 
mands a  beautiful  view  of  Pallanza,  Intra,  and  the  islands.  —  Above 
the  lake,  2/4  M.  to  the  S.E.,  is  the  beautifully  situated  Villa  Palla- 
vicino,  and  1/4  M.  farther  on  is  the  Villa  Vignolo,  both  with  fine 
gardens  (visitors  admitted). 

The  Monte  Mottakone  is  easily  ascended  from  Stresa  or  Baveno  in 
31/2 -[4  hrs.  (guide  5  fr.,  convenient  in  wet  weather  for  the  final  third  of 
the  ascent;  mule  8  fr. ;  one-horse  mountain-car  from  Stresa  to  the  Hot. 
Bellevue  10  fr.).  The  route  from  Baveno  leads  to  the  S.E.  by  Romanico  and 
Campino,  mostly  through  wood,  to  Someraro  (1500  ft.),  where  it  joins  a  route 
ascending  from  the  road  along  the  lake  opposite  the  Isola  Bella,  and  to 
(13/4-2  hrs.)  the  hamlet  of  Levo  (1915  ft. ;  'Hotel  Levo,  pens.  6-7  fr.).  A  road 
leads  hence  towards  the  left  to  (25  min.)  the  Hot.  Bellevue  (p.  201).  The 
route  to  the  Mottarone  farther  on  ascends  to  the  W.  across  pastures,  past 
iixe.  Alpe  Oiardino  (3057  ft.),  to  the  (1  hr.)  chapel  oi  Sunt' Eurosia  (3536  ft.), 
where  it  turns  to  the  right.  20  min.  Alpe  del  Mottarone,  surrounded  by  fine 
beeches  and  elms;  '/•>  hr.  Hdtel  Mottarone  (see  p.  201).  —  Those  who  start 
from  Stkesa  follow  Ihe  road  diverging  from  the  main  road  a  little  to  the 
K.  of  the  Hotel  des  lies  Borrome'es.    1  hr.  Rislorante  Zanini  (1875  ft. ;  poor), 


Lago  Magglore.  ARONA.  31.  Route.   201 

on  an  open  meadow.  A  finger-post  points  to  the  right  to  Levo  (p.  200). 
Another  footpath  diverges  to  the  right,  25  min.  from  the  Ristorante  Zanini, 
before  we  reach  Gig/iese,  and  leads  to  (i/<  hr.)  the  'BSt.  Bellevue  Alpino 
(2756  ft. ;  pens.  7-8'/2  fr. ;  closed  Dec-March),  with  a  view  of  Pallanza,  Intra, 
and  Baveno.  Thence  we  proceed  across  the  Alpe  del  MoUavone  (p.  200)  to 
(IVi  hr.)  the  *E8Ul  MoUavone  (4678  ft.;  R.  3,  B.  i'/j,  dej.  3,  pens,  with 
wine  7-8V2  fr. ;  closed  1st  Nov. -20th  April),  kept  by  the  brothers  Gugliel- 
miaa,  10  min.  below  the  bare  summit  of  the  — 

'Monte  Mottarone  (4892  ft.),  the  culminating  point  of  the  Margozzolo 
Group.  The  view  from  the  top  of  the  'Rigi  of  Northern  Italy'  embraces 
the  Alps,  from  the  Col  di  Tenda  aud  Monte  Viso  on  the  W.,  to  the  Order 
and  Adamello  on  the  E.  (panorama  by  Bossoli,  iu  the  hotel).  The  most 
conspicuous  feature  is  the  Mte.  Rosa  group  to  the  W.  (especially  tine 
by  morning-light);  to  the  right  of  it  appear  the  Cima  di  Jazzi,  Strahl- 
horn,  Rimpflschhorn.  Allalinhorn,  Alphubel,  Mischabel  (Taschhoru,  Dom, 
Nadelhorn),  Pizzo  Bottarello,  Purtjengrat,  Bietschhorn,  Mte.  Leone,  Jung- 
frau,  Helsenhorn,  Fiescherhorner;  then  more  distant,  to  the  E.  of  the 
peaks  of  Mte.  Zeda,  the  Rheinwald  Mountains,  Bernina,  Mte.  Disgrazia,  Mte. 
Legnone,  Mte.  Generoso,  Mte.  Grigna.  At  our  feet  lie  seven  different  lakes, 
the  Lago  d'Orta,  Lago  di  Mergozzo,  Lago  Maggiore,  Lago  di  Biandronno, 
Lago  di  Varese,  Lago  di  Monute,  and  Lago  di  Comabbio ;  farther  to  the 
right  stretch  the  extensive  plains  of  Lombardy  and  Piedmont,  in  the 
centre  of  which  rises  the  cathedral  of  Milan.  The  Ticino  and  the  Sesia 
meander  like  silver  threads  through  the  plains. 

On  the  W.  side  a  path,  ruther  steep  at  places  (guide  advisable) ,  de- 
scends direct  to  (2  hrs.)  OTnegna  (rail,  stat.,  see  p.  69).  Travellers  bound 
for  Orta  (4V4  hrs.)  soon  reach  a  distinct  bridlep;ith  on  the  S.  side  of  the 
hill  (guide  unnecessary),  which  after  1  hr.  passes  above  the  Alpe  Corlano 
(to  the  right)  and  in  40  min.  more  in  front  of  the  JIadoima  di  Luciago.  In 
40  min.  more  they  reach  Chiggino  (2120  ft.),  whence  another  '/■!  ^r.  brings 
them  to  Aitneno  (1715  ft. ;  Alb.  al  Mottarone),  on  the  highroad.  They 
follow  the  latter,  and  in  12  min.  reach  a  point  where  the  road  Ibrks, 
the  left  branch  leading  to  JUiaslno,  while  the  right,  crossing  the  railway 
to  Gravellona  (station  of  Orta  to  the  left),  runs  via  Cavcegna  and  the  Villa 
Crespi  (p.  69)  to  Orla  (V/^  hr.  from  Armeno).  To  reach  the  Albergo 
Belvedere  (p.  69),  we  turn  to  the  right,  2  min.  beyond  the  Villa  Crespi. 

Beyond  Stresa  the  banks  of  the  Lago  Maggiore  become  flatter. 
—  The  next  place  on  the  W.  bank  is  Belgirate  (R),  surronnded  by 
the  Villas  Fontana,  daL  Fozto,  Minerhi,  and  others.  —  Then  follow 
Lesa  (R)  and  Meina  (R ;  Hotel  Meina),  with  the  maguiflcent  Villa 
Farrayiuna  and  other  beautiful  country-residences  of  the  Italian 
nobility.  The  statue  of  San  Carlo  Borromeo  (p.  202)  is  visible  to 
the  S.,  and  a  glimpse  of  the  Madonna  del  Monte  (p.  1H6),  Jar  to  the 
E.,  is  obtained. 

The  steamer  steers  obliquely  acro.ss  the  lake  to  Angara  (^R),  on 
the  E.  bank,  with  an  old  chateau  of  the  Visconti,  since  1439  tlie 
property  of  the  Counts  Borromeo,  birthplace  of  the  historian  Pietio 
^lartire  d'Anghiera  (1457-1526),  author  of  the  'Decades  Oceanico'. 

Aroua  (R.).  —  The  new  Railway  Station  ("Restaurant)  is  near  the 
pier.  —  Hotels.  Alb.  San  Gottakoo  &  Pension  Suisse,  K.  2-4,  B.  I'/ij 
1>.  4  fr.  ;  Albeugo  Rkaxe  u'Italia  e  Posta,  R.  3-4,  B.  I'/z,  dej.  3,  D.  4, 
pens.  7-9,  omn.  1/2  fr. ;  both  on  the  quay.  —  Caff i- Ristorante  del  Qiar- 
dino,  near  the  Albergo  Reale;  Ca/i  du  Lac,  near  the  quay;  Caffi  delta 
Stazione. 

Arona  (740  ft.),  an  ancient  town  with  4600  ii>l\ab.,  lies  on  the 
W.  bank,  about  3  M.  from  its  S.  extremity.  In  the  principal  churidi 
of  Santa  Maria  the  chapel  of  the  Borromean  family,  to  the  right  of 


202  Route  32.  PA  VIA.  From  Milan 

the  Mgh-altar ,  contains  the  *Holy  Family  as  an  altar-piece,  by 
Oaudenzio  Ferrari  (1511) ;  it  is  surrounded  hy  five  smaller  pictures, 
the  upper  representing  God  the  Father ,  at  the  sides  eight  saints 
and  the  douatrix.  The  adjacent  Gothic  church  otSanti  Martiri  con- 
tains a  high-altar-piece  by  Ambr.  Borgognone. 

On  a  height  overlooking  the  entire  district ,  Y2  ^r.  to  the  N.  of 
the  station  and  pier,  Is  a  colossal  Statue  of  San  Carlo,  70  ft.  in 
height,  resting  on  a  pedestal  42  ft.  high,  erected  in  1697  in  honour 
of  the  celebrated  Count  Carlo  Borromeo,  Cardinal  -  Archbishop  of 
Milan  (born  here  in  1538,  died  1584,  canonised  1610).  The  head, 
hands,  and  feet  of  the  statue  are  of  bronze,  the  robe  of  wrought 
copper.  The  enterprising  visitor  may  enter  the  interior  (50  c.)  and 
climb  to  the  head  of  the  statue,  but  the  ascent  is  far  from  pleasant. 
The  adjacent  church  contains  a  few  relics  of  S.  Carlo.  The  ex- 
tensive building  in  the  vicinity  is  an  Ecclesiastical  Seminary. 

Simplon  Railway  from  Arona  to  Milan  and  to  Domodossola  (Briffue), 
see  R.  2;  via  Borgomanero  and  Santhih  to  Turin,  see  R.  15;  via  Novara 
and  Alessandria  to  Genoa,  see  R.  30. 

32.   From  Milan  to  Genoa  via  Pavia  and  Voghera. 

94  M.  Railway  in  3-7V2  hra.  (fares  17  fr.  55,  12  fr.  30,  7  fr.  80  c  ; 
express  19  fr.  30,  13  fr.  50  c);  to  Pavia,  221/2  M.,  in  V2-I  hr.  (fares  4  fr.  20, 
2  fr.  95,  1  fr.  90c.;  express  4  fr.  60,  3  fr.  26,  2  fr.  lOc).  —  In  winter 
the  'train  de  luxe'  from  Vienna  to  Cannes  traverses  this  route  (from  Milan 
to  Genoa,  3  hrs. ;  fare  2a  fr.  75  c). 

From  Milan  to  (I71/2  M.)  Certosa,  see  p,  161. 

221/2  M.  Pavia.  —  Railway  Stations.  1.  Staiione  Centrale  (PI.  A,  2), 
the  main  station,  4  min.  lieyond  the  Porta  Cavour.  2.  Stazione  Porta  Oari- 
haldi  (PI.  D,  3),  for  the  line  to  Cremona  (and  Mantua). 

Hotels.  Crock  Bianca  (PI.  a;  B,  3j,  Corso  Vittorio  Emanuele,  R.  2-4. 
omn.  1/2  fr-,  well  spolcen  of;  Tre  Re  (PI.  b;  B,  3),  same  street.  —  Caffk 
Bortolo,  Caff&  Demetrio,  both  in  the  Corso  Vittorio  Emanuele.  —  Trattoria 
del  Siro,  Via  Antonio  Bordoni  5. 

Post  &  Telegraph  Office  in  the  Mercato  Coperto  (PI.  B,  3). 

Cab  per  drive  80c.,  at  night  1  fr.  20,  per  hour  1  fr.  50  c.  —  Omnibus 
from  the  Stazione  Centrale  to  the  Via  Mazzini  (PI.  C,  3),  10  c.  —  Steam 
TaAMWAT  to  Milan  (comp.  p.  161),  starting  from  the  Piazza  Petrarca  (PI.  B,  2). 

Chief  Sights  ('/2  day):  San  Michele;  Covered  Bridge;  University; 
Castello;  San  Pietro  in  Ciel  d'Oro;  Santa  Maria  di  Canepanova. 

Pavia  (250  ft.),  with  29,500  inhab.,  capital  of  the  province  of 
the  same  name,  the  see  of  a  bishop,  and  the  seat  of  a  university, 
is  situated  near  the  confluence  of  the  Ticino  and  the  Po  and  is  con- 
nected with  MUan  by  the  Naviglio  di  Pavia  (p.  132).  Of  the  nu- 
merous towers,  which  won  for  it  the  title  of  'Citta  delle  Cento  Torri', 
and  of  the  churches,  which  are  said  to  have  numbered  165  In  the 
14th  cent.,  only  a  few  now  remain;  but  parts  of  the  ancient  ram- 
parts and  bulwarks  still  attest  the  ancient  importance  of  the  town. 

Pavia,  the  Ticinum  of  the  ancients  and  the  capital  of  the  Lombards 
from  572  to  774,  was  not  known  as  Popta  until  the  7th  century.  Beren- 
garius  1.,  Margrave  of  Friuli  (883)  and  two  of  his  successors  were  crowned 
as  Kings  of  Italy  in  the  church  of  San  Michele  here,  and  Frederick  Bar- 
barossa  (1155)    and  other  German  rulers  received   the  Lombard  crown  at 


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to  Genoa.  PAVIA.  32.  Route.    203 

Pavia.  In  the  middle  ages  it  was  the  faithful  ally  of  the  German  emperors, 
until  it  was  handed  over  in  1360,  by  Emp.  Charles  IV.,  to  OaUazzo  II.  Vis- 
conti  (p.  127),  as  imperial  vicar.  —  The  battle  of  Pavia,  at  which  Francis  I. 
of  France  was  defeated  and  taken  prisoner  by  Lannoy,  general  of  Charles  V., 
took  place  in  the  park  of  the  castle  on  24th  Feb.,  1525. 

Leaving  the  railway-station,  we  enter  the  Cokso  Catotjk  (PI. 
A,  B,  3)  through  the  Porta  Cavour  (in  a  wall  to  the  right  is  the 
statue  of  a  Roman  magistrate),  and  following  the  Via  Bossolaro  to 
the  right  reach  the  Piazza  del  Duomo. 

The  Cathedeai  (PI.  B,  3),  begun  in  the  early -Renaissance 
style  hy  Cristoforo  Rocchi  in  1487  on  the  site  of  two  churches  of 
the  Lombard  period  and  continued  with  the  co-operation  of  Amadeo 
aud  Bramante,  but  never  completed,  is  a  vast  'central'  structure 
(comp.  p,  Ixiv)  with  four  arms.  The  facade  (1898)  and  the  dome 
(300  ft.  high)  are  modern. 

In  the  Interior  are  altar-pieces  by  Qianpietrino  (1521;  in  the  original 
frame),  Bern.  Oatti  (Madonna  with  the  rosary,  1531),  Qiov.  Bait.  Crespi, 
Vaniele  Crespi,  and  Fed.  FartiffiiH  (1854).  In  the  right  transept  is  the  hand- 
some marble  altar  (by  Tomm.  OrsoHno,  1653)  of  St.  Syrus  (2nd  cent.),  who, 
according  to  the  legend,  was  first  bishop  of  Pavia. 

Adjoining  the  church  to  the  left  rises  the  massive  Torre  Maggiore 
(256  ft.  high),  a  tower  mentioned  as  early  as  1330;  the  top  story 
was  begun  in  1583  by  Pellegrino  Tibaldi. 

We  may  now  proceed  to  the  Coeso  Vittoeio  Emanuele  (PI.  B, 
1-4),  a  street  intersecting  the  town  in  a  straight  direction  from  N. 
to  S.,  from  the  Porta  di  Milano  to  the  Porta  Ticinese,  and  leading  to 
the  Covered  Bridge  (14th  cent, ;  a  pleasant  promenade  with  pictur- 
esque view)  over  the  Ticino.  A  chapel  stands  on  the  bridge,  half- 
way across. 

The  church  of  San  Teodoro  (Pi.  B,  4),  at  the  end  of  the  street 
of  that  name  running  to  the  W.  off  the  Corso  Vittorio  Emanuele, 
contains  frescoes  in  the  transept  by  Bramantino ,  representing 
scenes  from  the  lives  of  SS.  Theodore  and  Agnes  (1510-11). 

Sak  Michblb  Maggioke  (pi.  C,  4),  to  which  the  third  side^ 
street  to  the  right  leads  (coming  from  the  bridge),  a  basilica  of  the 
Lombard  period,  dates  in  its  present  Lombard-Romanesque  form 
from  the  latter  part  of  the  11th  century.  The  facade  is  adorned 
with  numerous  reliefs  in  sandstone ,  in  ribbon- like  stripes ,  and 
a  curious  gabled  gallery. 

The  vaulted  Interior  ,  restored  in  1860-75 ,  is  supported  by  eight 
pillars,  from  which  rise  double  round  arches.  Over  the  centre  of  the 
transept  rises  an  octagonal  dome.  The  pillars  of  the  transepts  bear  traces 
of  ancient  frescoes.  The  tomb  of  Mart.  Salimbine,  in  the  crypt,  has  a 
relief  attributed  to  Oiov.  Ant.  Amadeo  (1491). 

Near  the  middle  of  the  Corso  Vitt.  Emanuele  is  the  Mercato 
Coperto  (PI.  B,  3),  built  by  Balossi  in  1881-82.  Behind  it,  in  the 
Piazza  del  Popolo,  is  a  monument,  by  Enrico  Cassl  (1900),  to  the 
Cair6li  Family  of  Pavia :  Adelaide  Cairoli  entrusts  a  banner  to  her 
live  sons,  illustrious  in  the  war  of  independence;  in  front,  to  the 
left,  is  Benedetto  Cairoli  (1825-89),  the  statesman. 


204   Route  32.  PA  VIA.  From  Milan 

In  the  N.  part  of  the  Corso  Vitt.  Emanuele,  to  the  right,  stands 
the  Univeksity  (PI.  B,  C,  2,  3),  founded  by  Galeazzo  II.  Visconti 
in  1361  on  the  site  of  a  school  of  law,  which  had  existed  here  since 
the  11th  century.  The  present  imposing  building,  begun  in  1490 
under  Lodovico  il  Moro,  was  greatly  extended  about  1770  by  Gius. 
Piermarini.  The  handsome  quadrangles  are  embellished  with  mem- 
orial tablets,  busts,  and  monuments  of  celebrated  professors  and 
students.  In  the  second  court  are  a  statue  of  Volta,  by  Ant.  Tan- 
tardini  (1878),  and  memorial  reliefs  of  professors.  In  the  library 
(ca.  200,000  vols.)  are  preserved  some  of  the  ashes  of  Columbus 
(comp.  p.  90),  who  is  said  to  have  been  a  student  at  Pavia. 

The  Corso  next  leads  in  a  N.  direction,  past  the  Piazza  d'ltalia, 
to  the  Piazza  Cdstello,  and  to  the  old  Castle  (PI.  C,  2),  erected  by 
Galeazzo  II.  about  1360,  now  used  as  a  barrack,  and  containing  a 
handsome  court  of  the  14th  cent.  (adm.  by  permission  of  the  officer 
on  guard). 

The  Via  Luitprando  leads  to  the  N.W.  of  the  Piazza  Castello  to 
the  old  monastic  church  of  San  Pibteo  in  Ciel  d'Oeo  (PI.  B,  2). 
This  building,  originally  Lombardic  but  rebuilt  about  1100  in  the 
Lombard-Romanesque  style,  was  restored  in  1875-99  by  Ang.  Sa- 
voldi.    The  exterior  of  the  choir  should  be  noticed. 

Intkkior.  In  the  high  choir  is  the  sumptuous  *Arca  di  Sanf  Agostino, 
adorned  with  95  statuettes  and  50  reliefs,  executed  by  Bonino  da  Campione 
or  some  other  of  the  Campioiiesi  after  1362.  On  the  sarcophagus  is  the 
recumbent  figure  of  St.  Augustine,  whose  relics  were  brought  from  Sar- 
dinia to  Pavia  in  723  under  King  Luitprand.  —  The  choir-apse  has  modern 
frescoes  by  Loverini  and  Bemardi.  —  The  double -aisled  crypt  rests  upon 
24  columns. 

The  Via  Pietro  Carpanelli  leads  to  the  S.E.  of  the  Piazza 
Castello  to  the  Gothic  church  of  San  Francesco  (PI.  C,  2,  3),  of  the 
13th  cent.,  with  a  modernized  interior.  The  rich  brick  facade  was 
restored  in  1897.  —  In  the  vicinity  stands  the  Collegia  Ohislieri 
(PI.  C,  3),  founded  in  1569  by  Pius  V.  (Ghislieri) ,  a  colossal 
bronze  statue  of  whom  has  been  erected  in  the  piazza  in  front. 

In  the  Via  Defendente  Sacchi,  a  little  to  the  S.,  is  the  church 
of  Santa  Maria  di  Canepanova  (PI.  6  ;  C,  3),  a  small  dome-covered 
structure  designed  by  Bramante  (1492)  but  not  completed  until 
1564,  with  a  passage  round  the  top.  —  Three  ancient  Brick  Towers 
rise  in  the  vicinity. 

The  Via  Roma,  to  the  "W.  of  the  university,  terminates  in  the 
Piazza  del  Carmine,  with  the  Gothic  church  of  Santa  Maria  del 
Carmine  (PI.  B,  3),  a  brick  edifice  of  fine  proportions,  flanked  with 
chapels,  and  dating  from  1390.  The  sacristy  contains  a  fountain 
by  Amadeo. 

At  the  S.  end  of  the  Piazza  Petrarca,  to  the  right,  is  the  Palazzo 
Malnspina,  now  the  Museo  Civico  (PI.  15;  B,  2);  open  daily  (fee; 
MS.  catalogue).  On  the  groundfloor  are  national  relics  and  mem- 
orials. On  the  first  floor  are  reliefs  by  Amadeo,  a  collection  of 
about  450  paintings,  some  fine  engravings  and  niello-prints  (e.y. 


to  Oenoa.  VOGHERA.  3?.  Rottte.  205 

Fountain  of  Love,  by  Ant.  Pollainolo),  elo.  Among  the  paintings 
(2nd  room  on  the  right")  are  :  Carlo  Crivelli,  The  napkin  of  St.  Vero- 
nica (an  early  work);  Amh.  Borgognone,  Bearing  of  the  Cross,  with 
Carthusian  monks ;  58.  Ant.  da  Messina,  Portrait  (retouched) ;  60. 
Correggio,  Holy  Family,  an  early  work  (much  damaged) ;  68.  B.  Luini, 
Fragment  of  a  fresco;  74.  Fra  Bariolomeo,  Holy  Family. 

In  a  side-street  (Vicolo  San  Zeno)  are  busts  of  Boethius  and  Petrarch. 
Tradition  points  this  out  as  the  place  in  which  Boithius,  confined  hy  the 
Emperor  Theodoric,  composed  hia  work  on  the  'Consolation  of  Philo- 
sophy'. Petrarch,  with  his  daughter  and  son-in-law,  frequently  visited  the 
palace  as  the  guest  of  Galeazzo  II.  His  grandson,  who  died  at  the  Pal. 
Malaspina,  was  interred  in  the  former  church  of  San  Zeno.  A  short  poem 
of  Petrarch  in  allusion  to  this  event,  in  six  Latin  distiches,  is  one  of  the 
many  inscriptions  on  the  wall  opposite  the  entrance. 

To  the  W.  of  the  town,  1/2  M.  outside  the  Porta  Cavour,  lies 
the  church  of  San  Salvatore,  founded  in  the  7th  cent,  under  King 
Aribert,  hut  entirely  rebuilt  in  the  15-16th  centuries.  —  About 
1/2  M-  farther  on  is  the  church  of  San  Lanfranco  (formerly  Santo 
Sepolcro),  dating  from  the  12th  century.  It  contains  the  sarcophagus 
of  Bishop  Lanfranco  Beccari  (d.  1198),  by  G.  A.  Amadeo  (ca.  1500), 
who  executed  also  some  of  the  fine  terracotta  sculptures  In  the 
cloisters. 

Fr.oM  Pavia  to  Alessandria  via  Torre-Beeetti  and  VALENZA,40'/aM.. 
railway  in  ca.  iy^-i^U  hrs.  (fares  7  fr.  55,  5  fr.  30,  3  fr.  40  c.).  The  line 
crosses  the  Ticino  and  intersects  the  broad  plain  of  the  Po,  in  a  S.W. 
direction.  Uuimportant  stations.  —  Torre  -  Bereiti ,  see  p.  180;  Valenza, 
see  p.  190. 

From  Pavia  to  Ceemona  (Mantua),  46  M.,  railway  in  21/4-3^4  hrs. 
(fares  8  fr.  60,  6  fr.  5,  3  fr.  90  c.).  —  The  line  intersects  the  fertile  plain 
watered  by  the  Po  and  the  Olona.  —  91/2  M.  Belyioioso,  with  a  handsome 
chateau.  —  26V2M.  Casalpusterlengo,  where  the  line  unites  with  that  from 
Piacenza  to  5Iilan  (p.  358).  —  30  M.  Codogno  (p.  358).  Thence  to  (46  M.) 
Cremona,  see  R.  33. 

From  Pavia  to  Stradella,  via  Brcssana-Botfarone  (see  below),  20  M., 
railway  in  I-IV4  br.     Stradella,  see  p.  357. 

From  Pavia  to   Vercelli,  see  p.  190. 

The  Railway  to  Genoa  crosses  the  Ticino  by  a  bridge  1/2  ^• 
long,  and  almost  immediately  afterwards,  beyond  (26  M.)  Cava 
Manara,  it  crosses  the  Po.  At  (SO^/aM.)  Bressana-Bottarone  di- 
verges the  above-mentioned  branch  to  Stradella  (p.  357).  3372  M, 
Lungavilla. 

38V2  M.  Voghera  (310  ft.;  Italia),  with  14,600  inhab.,  per- 
haps the  ancient  Jria,  on  the  left  bank  of  the  Staffora,  was  once  forti- 
fled  by  Giovanni  Galeazzo  Visconti.  The  ancient  church  of  San 
Lorenzo  was  remodelled  in  1600.  From  Voghera  to  Piacenza,  see 
R.  49. 

The  steam -tramway  from  Voghera  to  Stradella  (p.  3o7)  passes  the 
village  of  (41/2  M.)  Mnniehello,  famous  for  the  battle  of  9th  June,  1800  (live 
days  before  the  battle  of  Marengo).  Here,  too,  on  20th  May,  1859,  the  first 
serious  encounter  between  the  Austrians  and  the  united  French  and  Sar- 
dinian armies  took  place. 

Another  steam- tramway  connects  Voghera  with  (5  M.)  Bivanazzano^ 
the  station  for  Salice,  a  small  watering-place,  with  iodine  and  saline  batlis, 


206   Route  33.  CREMONA.  From  Milan 

At  (431/2  M.)  Pontecurone  we  cross  the  impetuous  Curone  (dry 
in  summer).    Country  fertile. 

49  M.  Tortona  (395  ft. ;  Hot.  Nazionale ;  Alb.  Vniverso) ,  the 
ancient  Dertona,  a  town  of  11,300  inhab.,  on  the  Scrivia,  was 
destroyed  in  1165  by  Frederick  Barbarossa.  The  Cathedral  dates 
from  1584.  The  ancient  church  of  Santa  Maria  Canali  (9th  cent.) 
was  altered  in  the  13th  century.  The  chapel  of  the  Episcopal  Palace 
contains  a  winged  picture  by  Macrino  d'Alba  (1499).  In  the  Museo 
Romano  is  an  ancient  sarcophagus.    Fine  view  from  the  castle. 

From  Tortona  a  branch-railway  runs  to  (S'/z  M.)  Ccutelnuovo-  Scrivia, 
and  a  steam-tramway  to  Sale  (p.  53). 

From  Tortona  to  Turin  via  Alessandria,  see  RR.  49,  11  c. 

60  M.  Novi,  and  thence  to  (94  M.)  Genoa,  see  R.  lie. 

33.  From  Milan  to  Mantua  via  Cremona. 

901/2  M.  Railway  in  3-5V4  brs.  (fares  16  fr.  95,  11  fr.  90,  7  fr.  65  c.) ;  to 
Cremona,  511/2  M.,  in  21/4-3V4  hrs.  (fares  9  fr.  65,  6  fr.  75,  4  fr.  35  c.).  Car- 
riages are  changed  at  Codogno. 

From  Milan  to  (35 V2  M.)  Codogno,  see  p.  205.  Our  train  diverges 
here  from  the  main  line  to  the  E.  —  Near  (891/2  M.)  Pizzighettone, 
where  Francis  I.  was  confined  after  the  battle  of  Pavia  (p.  203),  we 
cross  the  Adda  (p.  180),  which  is  here  navigable.  —  49  M.  Cava 
Tigozzi. 

511/2  M.  Cremona.  —  The  Railway  Station  is  outside  the  Porta  Milano 
(PI.  C,  1).  —  Hotels.  "Albergo  Cappkllo  ed  Itaxia  (PI.  a;  E,  3),  Corse 
Campi,  R.  2V2-3,  omn.  3/4  fr. ;  Roma,  Via  Giuseppe  Mazzini  TPl.  F,  3),  R. 
2-21/2  fr. ;  Pavonb,  Via  Beccherie  Vecchie,  plainer.  —  Cafes.  Soresini, 
Gai/ibrimis,  both  in  the  Piazza  Roma. 

Post  &  Telegraph  Office  (PI.  E,  F,  3),  Piazza  Roma.  —  Cabs.  Per  drive 
in  the  town  '/2,  per  V2  hr.  1,  each  addit.  V2  hr.  1/2  fr- ;  from  the  station  to 
the  town  1  fr.,  at  night  1  fr.  20  c.  Luggage  free.  —  Photographs  a.t  Betri's, 
Corse  Mazzini. 

Cremona  (165  ft.),  the  capital  of  a  province  and  an  episcopal 
see,  with  30,200  inhab.,  lies  in  a  fertile  plain  on  the  left  bank  of 
the  Po,  and  carries  on  considerable  silk-manufactures. 

The  original  town  was  wrested  by  the  Romans  from  the  Gallic  Ceno- 
mani  and  colonised  by  them  at  the  beginning  of  the  second  Punic  war 
(B.C.  218).  It  became  one  of  the  most  flourishing  towns  in  N.  Italy,  but 
in  70  A. D.,  during  the  civil  wars,  it  was  reduced  to  ruins  by  the  Emp. 
Vespasian,  who,  however,  afterwards  restored  it.  'Bellis  exterais  intacta 
civilibus  infelix'  is  the  summary  of  its  history  by  Tacitus.  The  Goths  and 
Lombards,  especially  King  Agilulf,  as  well  as  the  subsequent  conflicts 
between  Guelphs  and  Ghibellines,  did  great  damage  to  the  town.  Cremona 
espoused  the  cause  of  Frederick  Barbarossa  against  Milan  and  Crema,  and 
subsequentlv  came  into  the  possession  of  the  Visconti  and  of  Francesco 
Sforza  (p.  127),  after  which  it  belonged  to  Milan.  On  1st  Feb.,  1702,  Prince 
Eugene  surprised  the  French  marshal  Villeroi  here  and  took  him  prisoner. 
In  1799  the  Austrians  defeated  the  French  here. 

The  manufacturers  of  the  far-famed  Violins  and  Violas  of  Cremona 
were  Andrea  Amati  (ca.  1510-80)  and  Niccolb  Amali  (1596-1684),  Antonio 
Stradivari  (1644-1723),  and  Giuseppe  Ant.  Onarneri  (1683-1745). 

Painting.  Boccaccio  Boccaccino  (ca.  1460-1518),  who  for  a  time  seems 
to  have  belonged  to  the  circle  of  Giov.  Bellini  (p.  291),  in  Venice,  is  gen- 
erally regarded  as   the  founder  of  the  Cremona  school  of  painting.    The 


wi  §'-"^A  ""^    X  •  -^  ^,  %■    'y    ^-^  ''     i  ^s>  ^, 


to  Mantua.  CREMONA.  33.  Route.   207 

frescoes  of  his  assistants  Allobello  da  Melone  and  Oian  Frane.  Bembo  show 
the  inOuence  of  Romanino  (p.  220)  and  Pordenone  (p.  291),  who  worked  side 
by  side  with  them  in  the  cathedral.  The  traditions  of  Boccaccino  were 
continued  by  his  son,  Camilla  Boccaccino,  and  by  Galea^zo  Campi  (d.  1536). 
The  younger  Campi.  Giulio  and  Antonio,  were  mainly  subject  to  the  sway 
of  Giulio  Romano.  Cremona  was  the  birthplace  of  So/onisba  d^Anguisciola 
(1535-1626),  who,  like  her  five  sisters,  practised  the  art  of  painting,  and 
was  highly  esteemed  by  her  contemporaries.  She  afterwards  retired  to 
Genoa,  and  even  in  her  old  age  attracted  the  admiration  of  Van  Dyck. 

In  the  Piazza  del  Comunb  (PL  F,  4)  rises  the  Torrazzo,  a  tower 
397  ft.  In  height,  erected  in  1261-84,  and  connected  with  the  cath- 
edral by  a  series  of  logge.  Extensive  view  from  the  top.  —  Oppo- 
site the  tower  is  the  Gothic  '^Palazzo  Pubblico  (now  the  Municipio^ 
of  1206-45  (restored;  fine  Renaissance  portal),  containing  a  few 
pictures  by  masters  of  the  Cremona  school  and  a  rich  marble  chim- 
ney-piece by  Pedone  (1502).  Adjacent  is  the  Gothic  Palazzo  de' 
Oonfalonieri  or  de'  Oiureconsulti,  of  1292. 

The  *Cathbdkai<  (PI.  F,  4),  a  vaulted  structure  in  the  Roman- 
esque-Lombard style,  erected  in  1107-90,  has  a  rich  main  facade 
embellished  with  columns  (partly  remodelled  in  1491)  and  tasteful 
brick  facades  on  the  transepts,  especially  the  S. 

The  Intekiok  with  its  aisles,  and  transepts  also  flanked  with  aisles 
(restored  in  1905),  is  covered  with  frescoes  by  Boccaccio  Boccaccino  (ca. 
1506-18),  Romanino  (1519-20),  Pordenone  (1520-22),  and  later  masters  of  the 
Cremona  ychool,  such  as  Camillo  Boccaccino,  Allobello  da  Melone,  Pietro  and 
Gian  Franc.  Bembo,  the  Campi,  and  Gatti.  Over  the  arches  of  the  nave, 
on  both  sides,  are  long  series  of  frescoes.  Left  wall,  above  the  first  four 
arches :  Boccaccio  Boccaccino,  Life  of  the  Virgin,  in  eight  scenes ;  5th  arch, 
Oian  Francesco  Bembo,  The  Magi,  and  Presentation  in  the  Temple;  beyond 
the  organ,  Altobello  da  Melone,  Flight  into  Egypt,  and  Massacre  of  the 
Innocents;  above  the  last  arch,  Boccaccino,  Christ  teaching  in  the  Temple. 
The  colossal  figures  of  Christ  and  four  saints  in  the  apse  are  also  by 
Boccaccino.  Right  wall :  Melone,  Last  Supper,  Christ  washing  the  Disciples' 
feet,  Christ  on  the  Mt.  of  Olives,  Christ  taken  by  the  soldiers,  Christ  be- 
fore Caiaphas ;  above  the  4th  and  5th  arches,  Romanino,  'Christ  led  out 
to  be  crucified.  Scourging  of  Christ,  Crown  of  Thorns,  EcceHomo;  above 
the  last  three  arches,  towards  the  facade,  Pordenone's  three  celebrated 
•Passion  Scenes:  Christ  before  Pilate,*  Christ  and  St.  Veronica,  Christ 
nailed  to  the  Cross.  On  the  front  wall,  a  colossal  Crucifixion  and  En- 
tombment by  Pordenone.  —  The  two  pulpits  are  embellished  with  reliefs 
from  an  old  altar,  by  Amadeo  (1482).  —  The  choir  contains  fine  Renais- 
sance stalls  by  Oiov.  Maria  Platina  and  Pieiro  dalla  Tarsia  (1482  90).  The 
high -altar-piece  (Assumption)  ia  by  Bern.  Gatti.  The  chapel  of  the  Host 
(1569),  to  the  right  of  the  choir,  is  elaborately  frescoed  by  the  Campi.  — 
In  the  right  transept  is  a  fresco,  by  Giulio  Campi,  representing  the  history 
of  Esther.  —  First  chapel  to  the  right:  altar-piece  by  Pordenone,  Madonna 
between  two  saints.  —  In  the  crypt  stands  the  sarcophagus  of  SS.  Peter 
and  Marcellinus,  by  Bened.  Briosco  (1507). 

In  the  vicinity  are  the  octagonal  Battistero  (PI.  F,  4)  of  1167, 
and  the  Campo  Santo ,  in  the  pavement  of  which  are  curious  old 
mosaics  (Hercules  and  Nessus ;  Piety  wounded  by  Cruelty ;  Faith 
tearing  out  the  tongue  of  Discord,  etc.). 

The  adjacent  Piazza  Roma  (PI.  E,  F,  3)  is  laid  out  with  gardens 
(music  on  Sun.  and  Thurs.  evenings). 

A  few  hundred  yards  to  the  N.W.  of  the  Piazza  Roma,  in  the  Via 
Ugolani  Dati  (PI.  E,  2),  stands  the  old  Palaeto  Dati,  erected  about  1580  in 


208    Route  33.  CREMONA. 

the  late-Renaissance  style  of  Gal.  Alespi  and  now  a  hospital.  The  court 
and  staircase  are  very  fine.  To  the  E.,  at  No.  7  Corso  di  Porta  Venezia, 
is  the  Mo7ite  di  Pietd  (PI.  G,  2,  3),  dating  from  the  15th  century.  The 
elegant  brick  facade  is  embellished  with  a  charming  frieze  of  Nereids, 
coats-of-arms,  and  portrait-heads,  and  in  the  court  is  a  frieze  of  Bacchantes. 
—  Farther  on,  near  the  Porta  Venezia  (p.  209),  is  the  church  of  Sanf 
Ahhondio  (PI.  G,  2),  with  an  early  work  (1527)  of  Giulio  Campi  (Madonna 
with  SS.  Nazarins  and  Celsns)  and  a;  Coronation  of  the  Virgin,  by  Alto- 
bcUo  da  Melone.     In  the  sacristy  are  some  cabinets  by  G.  M.  Platina. 

From  the  Mtinicipio  the  Via  Ala  Ponzone  leads  to  the  W.  to  the 
Palazzo  Reale  (formerly  Ala  di  Ponzone'),  which  contains  the  in- 
teresting MusEO  Civico  (daily  9-3,  except  Sun.;  50c.). 

On  the  Staircase  are  fculptures,  portions  of  frescoes,  etc.  —  First  Floor. 
From  an  Anteroom,  with  drawings  and  small  paintings,  we  pass  through 
a  handsome  Renaissance  doorway  to  Room  I.,  which  contains  enamels, 
bronzes,  miniatures,  book-bindings,  ivory  carvintrs,  and  terracottas.  — 
Room  II.  Medals  and  plaquettes;  also  Trinity,  by  Vine.  Civerchio,  and  other 
paintings.  —  Room  III.  Paintings:  Camillo  Boccaccino,  Madonna  and  two 
saints;  Gian  Fr.  Bembo,  Madonna;  C.  CriveUiy  San  Nicolo  of  Tolentino  (re- 
touched); Boccaccio  Bvccaccino,  Madonna  enlhruned  with  S.S.  Anthony  of 
Padua  and  Stephen  (1518);  Oal.  Campi,  Madonna  and  two  saints.  —  Room  IV. 
Lor.  di  Credi  (?),  Madonna.  —  In  the  following  rooms  are  works  by  early 
Netherlandi.'ih  masters  {Jean  Provost,  Madonna),  painting?,  sculptures,  etc. 

On  the  Second  Floor  are  old  prints,  views  of  Cremona,  weapons, 
uniforms,  and  natural  history  collections. 

In  front  of  the  museum  is  a  Marble  Statue  of  Amilcare  Ponchielli 
(1834-86),  a  native  of  the  district  and  composer  of  'Giocouda'.  — 
Farther  up  the  Corso  Vitt.  Emanuele,  in  the  second  cross-street  to 
the  left,  is  the  church  of  San  Piktho  al  Po  (PI.  E,  5),  huilt  in  1549- 
70  by  Ripari.  Over  the  third  altar  to  the  right,  Madonna  and  saints, 
by  Oian  Franc.  Bemho  (1524).  The  rich  ceiling-decorations  are  by 
Ant.  Campi  and  other  masters. 

In  Sant  Agostino  (Pi.  D,  3),  a  church  of  the  14th  cent.,  with 
aisles  and  barrel-vaulting :  first  chapel  oii  the  right,  Pieta,  by 
Oiulio  Campi;  last  side-altar  but  one,  Madonna  and  two  saints  by 
Perugino  (1494);  left,  between  the  3rd  and  4th  altars,  portraits  of 
Francesco  Sforza,  and  between  the  4th  and  5th,  of  his  wife  Bianca 
Maria  Visconti,  frescoes  (retouched)  by  Bonif.  Bemho  (15th  cent.). 

The  Via  Guide  Grandi  (passing  on  the  right  the  small  church 
oi  Santa  Margherita,  built  and  painted  by  Oiulio  Campi,  1546;  and, 
farther  on,  to  the  left,  No.  1,  the  Palazzo  Trecchi,  in  the  early- 
Renaissance  style)  leads  hence  to  the  Piazza  Gaeibaldi  (PI.  C, 
D,  2),  with  the  church  of  Sant'  Agata  (by  the  entrance-wall,  Mon- 
ument of  Franc.  Trecchi,  in  the  Renaissance  style,  by  Gian  Cristo- 
foro  Romano,  1502;  beside  the  high-altar,  four  large  frescoes  by 
Giulio  Campi,  painted  in  1536  in  the  style  of  Pordenone),  From 
the  piazza  the  Corso  Garibaldi  leads  to  the  N.W.  to  the  Porta  Miiano 
(PI.  C,  1)  and  the  station.  —  Near  the  gate,  adjoining  the  church 
of  (San  Luca  (right),  is  the  Cappella  del  Crista  Risorto,  a  tasteful 
brick  edifice  of  the  early  Renaissance  (1503);  the  interior,  renewed 
in  the  baroque  style,  contains  frescoes  of  1590. 

?fot  far  from  the  Porta  Miiano.  in  the  Via  Bertesi  (PI.  C,  D,  1), 


BERGAMO.  3d.  Route.    209 

stands  the  Pal.  Cr  ntii  (iovmerly  Raimondi^,  an  early -Renaissance 
structure,  containing  sculptures  by  Pedone.  On  the  W.  side  of  the 
Via  Palestro  (PI.  D,  1)  is  the  Pal.  Stanga,  with  a  baroque  facade 
and  a  fine  colonnade  of  the  early  Renaissance. 

About  l'/2  M.  to  the  E.  of  the  Porta  Vene/.ia  (PI.  H,  2),  near  the 
Mantua  road,  is  the  church  of  *San  Sigismondo,  with  freacoes  and  pictures 
by  Boccaccio  Boccaccino,  the  younger  Campi,  and  other  Cremoneae  masters ; 
altar-piece  by  Oiulio  Cariipi  (1640),  Madonna  with  saints,  and  below, 
Francesco  Sforza  and  his  wife,  founders  of  the  church.  S.  Sigismondo  is 
a  station  on  the  steam-tramway  from  Cremona  to  Casalmaggiore  (p.  218). 
—  Near  the  village  of  Le  Torri  lies  the  beautiful    Villa  Sacerdoti. 

Fkom  Cremona  to  Brescia,  SL'/s  M.  ,  railway  in  IVz-lV*  ^r.  (fares 
5  fr.  95,  4  fr.  15,  2  fr.  70  c.).  —  7  M.  Olmeneta,  see  p.  217.  The  other 
stations  are  unimportant.  —  3IV2  M.  Brescia  (p.  219). 

Fbom  Cremona  to  Piacenza,  19'/4  M-,  steam-tramway  in  iV4-2  hrs. 
The  road  intersects  the  plain  on  the  right  bank  of  the  Po,  after  crossing 
the  river  with  its  numerous  islands,  and  at  Caono  crosses  the  river  formed 
by  the  Chiavenna  and  Riglio.  At  Roneaglia  we  cross  the  Nure  and  proceed 
to  the  W.  to  Piacenza  (p.  358). 

From  Cremona  to  Pavia,  see  p.  205;  to  Treviglio  (Milan),  see  p.  217; 
via  Fiorenzuola  to  Lngagnano,  see  p.  361. 

The  first  station  of  note  beyond  Cremona  is  (69  M.)  Piadena, 
the  junction  of  the  Brescia  and  Parma  line  (p.  218). 

74  M.  Bozzolo,  with  an  old  castle  of  a  collateral  branch  of  the 
Gonzagas  (p.  258).  Before  reaching  (Jl^/i  M.)  Marcaria  we  cross 
the  Oglio.  —  83  M.  Castellucchio. 

About  2V2  M.  to  the  E.  of  Castellucchio,  5  M.  from  Mantua,  is  the 
church  of  Santa  Maria  delle  Orazie,  founded  in  1399,  a  famous  resort  of 
pilgrims,  containing  curious  votive  offerings  in  the  form  of  lifesize  figure? 
in  wax,  bearing  the  names  of  'Charles  V.',  'Ferdinand  I.',  'Pope  Pius  II.', 
the  'Connctable  de  Bourbon',  etc.     Also  a  few  monuments. 

The  train  now  crosses  the  Mincio.  —  90y2M.  Manhia,  see  p.  257. 

34.  From  Milan  to  Bergamo. 

33V2  M.  Railway  in  I1/4-2  hrs.  (fares  6  fr.  30,  4  fr.  40,  2  fr.  85  c). 
Finest  views  to  the  left. 

From  Milan  to  (20  M.)  Treviglio,  see  p.  217.  Our  line  here  di- 
verges to  the  N.E.  —  271/2  M.  Verdello;  Bo'/a  M.  Bergamo. 


Bergamo.  — Hotels.  'Alb.  REAl,ElTALiA,Via  VentiSettembre(Pl.  C,  5), 
R.  2'/2-3V2,  15.  l'/2i  omn.  '/4  fr. ;  Concordia,  Viale  delta  Stazlone  (PI.  D,  5), 
wi'll  fitted  up,  with  a  trattoria  and  a  garden,  R.  2-3,  omn.  1/2  fr. ;  Alb. 
MiLANO,  same  street,  new;  Alb.  Ristorantr  del  Commkrcio  ,  Pia/./a  Ca- 
vour  I'l;  ('aitello  d'Oro, Viale  della  Stazione,  R.  2-3  fr.,  all  in  the  new 
town,  the  last  two  unpretending. 

Cafes.  Nazioiiale,  with  concert-room;  Centrale;  Campari,  all  three  in 
the  Piazza  Vittorio  Email uele;  Walker,  Piaz/a Garibaldi.  — Birreria  Gambrino, 
l'i;i/,/.a  Vitt.  Einanuele. 

Cabs  (stand  in  the  Piazza  Vitt  Einanuele),  per  drive  1,  per  hr.  2'/2  fr.  ■ — 
Tramway  from  the  Porta  San  Bernardino  (PI.  B,  6)  by  the  ViaVenti  Set- 
tembre,  the  Piazza  Vitt.  Emanuele,  and  the  Piazza  Donizetti  to  the  Porta 
Santa  Caterina  (PI.  E,  1,  2).  Fare  10  c.  —  Electric  Tramway  from  the 
railway-station  via  the  Piazza  Vitt.  Emanuele  to  the  lower  station  of  the 
Cable  Railway.  —  A  Cable  Tramway  (Fuuicolare ;   PI.  C,  2)   connects  the 

Bakdekbu.    Italy  I.    13th  Edit.  14 


210   Boute  34.  BERGAMO.  Santo  Spirilo. 

lower  town  with  the  upper  town ;  the  lower  station  is  in  the  Strada  Vitt. 
Emanuele,  '/3  M.  from  the  Piazza  Vitt.  Emanuele.     Fare  15  c. 
Photograpus  at  Taramelli^s,  Via  Torqnato  Tasso. 

Bergamo  (820-1200  ft.) ,  the  ancient  Bergomum,  a  Milanese 
town  from  1264  to  1428  but  after  that  Venetian  until  1797,  now  a 
provincial  capital  and  episcopal  see,  with  25,400  inhah.,  lies  at  the 
junction  of  the  Val  Brembana,  watered  by  the  Brembo,  and  the 
Val  Seriana,  named  after  the  rapid  Serio  (another  affluent  of  the 
Adda).  This  is  one  of  the  busiest  of  the  smaller  trading  and  manu- 
facturing towns  in  Italy,  although  its  once  famous  fair  (Fiera  di 
Sant'  Alessandro,  middle  of  August  to  middle  of  September)  has 
lost  its  importance.  The  town  consists  of  two  distinct  parts,  the 
Citth  Alta,  picturesquely  situated  on  hills  and  strongly  fortified  by 
the  Venetians  in  1561-88,  and  the  much  larger  new  quarters  in  the 
plain  (Borgo  San  Leonardo,  Borgo  Pignolo,  Borgo  San  Tommaso)^ 
with  numerous  cotton,  silk,  and  other  factories  and  an  interesting 
piazza  {Fiera;  PI.  C,  D,  4). 

From  the  railway-station  (PI.  D,  E,  6)  the  broad  Viale  della 
Stazione  leads  to  the  Piazza  Vittohio  Emanuele  (PI.  C,  D,  4,  5), 
with  a  statue  of  Victor  Emmanuel  II.  The  Via  Borfuro  leads  hence 
to  the  W.  to  SanV  Alessandro  in  Colonna  (PI.  B,  C,  5),  contain- 
ing a  fine  *Assumption  by  Romanino  (left  transept).  The  church 
is  named  from  the  partly  antique  column  in  front  of  it,  at  which 
St.  Alexander,  tutelary  saint  of  Bergamo,  is  said  to  have  suffered 
martyrdom. 

To  the  N.E.,  beyond  the  Teatro  Gaetano  Donizetti  (PI.  D,  4), 
is  the  Piazza  Donizetti,  with  a  monument  by  Franc.  Jerace  (1897) 
to  Gaetano  Domsettj  (1798-1848),  who  was  a  native  of  Bergamo; 
the  composer,  seated  upon  an  ancient  Greek  exedra,  receives  the 
inspiration  of  a  Muse.  —  In  the  Via  Torquato  Tasso,  on  the  N 
side  of  the  Piazza,  is  the  church  of  San  Bartolomeo  (PI.  D,  4). 
The  large  *Altar-piece  behind  the  high-altar  is  one  of  the  chief 
works  of  Lor.  Lotto,  *Madonna  surrounded  by  ten  saints  (1516). 
Fine  choir-stalls  by  Fra  Damiano  (1520).  —  Farther  on  is  — 

Santo  Spirito  (PI.  E,  3),  the  fine  aisleless  interior  of  which  is 
in  the  early-Renaissance  style,  due  partly  to  Fietro  Isabella. 

Intekior.  Left,  1st  chapel:  JVeviiali,  John  the  Baptist,  surrounded  by 
SS.  Bartholomew,  Nicholas  of  Bari ,  Joseph,  and  Dominic,  the  painter's 
masterpiece  (1615).  Left,  second  altar,  large  altar-piece  by  Borgognone 
(1508):  Descent  of  the  Holy  Ghost,  God  the  Father,  Annunciation;  on  the 
left.  The  Baptist  and  St.  Jerome  ;  on  the  right,  SS.  Augustine  and  Francis. 
Bight,  4th  Chapel:  Lotto,  *Madonna  and  four  saints;  above,  angels  in  a 
glory  (1521) ;  5th  chapel,  Previtali,  Madonna  and  four  saints  (1525),  Resur- 
rection (finished  by  Ag.  da  Caversegno). 

Farther  on,  in  the  Via  di  Pignolo,  are  San  Bernardino  in  Pignolo 
(PL  E,  3),  containing  a  high-altar-piece  by  Lotto,  *Holy  Family 
with  SS.  Anthony  Abbas,  Joachim,  John  the  Baptist,  and  Bernard 
(1521),  and  Sant'  Alessandro  della  Croce  (PL  D,  2;  Moroni,  Ma- 
donna; in  the  sacristy,  Lotto,  Trinity;  Moroni,  portrait;  Previtali, 


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Santa  Maria  Maygiore.     BERGAMO.  3i.  Route.   -^11 

Crucifixion,  dated  1514).  —  The  Via  K  lova  runs  in  a  straight 
direction  to  the  Porta  Sant'  Agostino,  while  '.he  Via  di  San  Tommaso 
leads  to  the  right  to  the  Accadeniia  Carrara  (see  p.  212). 

An  avenue  of  chestnut-trees  named  Strada  Vitt.  Emanuele  (cable 
tramway,  p. 209)  connects  the  new  town  with  the  high-lying  — 

CiTTA  Alta,  the  ramparts  (Bastioni)  of  which  have  been  con- 
verted into  promenades  and  afford  fine  views  of  the  plain  of  Lom- 
bardy  and  the  Bergamasqne  Alps. 

From  the  upper  terminus  of  the  cable -tramway  we  proceed 
straight  on  by  the  Via  Gombito  to  (3  min.)  the  Piazza  Gaeibaldi 
(PI.  B,  1),  the  picturesque  old  market-place,  with  the  Palazzo 
jVmovo,  in  the  late-Renaissance  style,  by  Scamozzi  (1611),  but  un- 
finished. The  palace  is  nowtheRealelstituto  Tecnico Vitt.  Emanuele. 
Opposite  is  the  Library,  in  the  Gothic  Palazzo  Vecchio,  or  Broletto, 
the  groundfloor  of  which  consists  of  an  open  colonnade,  in  which  is 
the  Monument  of  Torquato  Tasso  (p.  215). 

Behind  the  library  is  the  Romanesque  church  of  Santa  Maria 
Maggiore  (PI.  B,  2),  of  1137,  with  ancient  lion-portals  by  Giov. 
da  Campione  on  the  N.  and  S.  To  the  right  of  the  N.  portal  is  the 
Cappella  CoUeoni. 

The  Inteuior  (usual  entrance  on  the  S.  side)  has  been  restored  in  a 
rich  baroque  style.  It  contains  wall-paintings  by  Paxino  da  Nova  (p.  212 ; 
much  injvired),  under  Flemish  tapestry,  and  fine  Renaissance  "Choir 
Stalls  by  Franc.  Capodiferro  (1622-52)  and  other  artists  (behind)  and  by 
Giov.  Belli  (1540-77;  in  front).  The  fine  intarsia  work  in  the  central  panels 
(usually  covered)  was  partly  designed  by  Lor.  Lotto.  —  In  the  right  transept 
is  a  fresco,  repre.'^enting  the  tree  of  St.  Bonavcntura,  by  a  follower  of 
Giotto  (1347).  —  The  right  jiisle  contains  the  partly  restored  tomb  of  Car- 
dinal Longo  degli  Alessandri  (d.  at  Avignon,  1319),  by  fgo  da  Campione, 
and  the  monument  of  the  famous  composer  Donizetti  (p.  210),  by  Vine. 
Vela  (1855).  In  the  treasury  (above  the  sacristy)  are  a  large  Crucifix  (5  ft. 
high)  of  the  l3th  century  (?j  and  several  works  in  niello. 

The  adjoining  *Cappella  Colleoni  (shown  by  the  sagrestano), 
erected  by  G.  A.  Amadeo  in  1470-7(3  in  the  early-Renaissance  style, 
has  a  lavishly  sculptured  fagade,  which,  however,  was  probably 
much  altered  when  the  interior  was  modernized  in  1774. 

The  interior  contains  the  tomb  of  the  founder  Bart.  Colleoni  (d.  1475; 
p.  326),  begun  by  G.  Ant.  Amadeo,  with  reliefs  from  the  life  of  Christ. 
i>n  the  top  is  the  gilded  equestrian  statue  of  Colleoni  hj  Sixtus  Siry  of 
Nuremberg  (1501).  To  the  right  is  the  smaller,  but  beautiful  monument 
of  his  daughter  Medea  (d.  1470),  also  by  Amadeo,  and  originally  in  the 
church  of  Basella.  Above  the  altar  on  the  right  are  good  sculptures;  to 
the  left,  a  Holy  Family  by  Angelica  Kauffmann;  fine  intarsia-work  (covered) ; 
ceiling-paintings  by  Tiepolo. 

The  adjoining  Baptistery  (on  the  right),  by  Giov.  da  Campione 
(1340),  originally  in  Santa  Maria  Maggiore,  was  re-erected  hero  in 
1898.  In  the  interior  are  reliefs  of  the  Passion  (key  in  the  sacristy 
of  the  cathedral ;  fee  30-50  c). 

Opposite  is  the  Cathedral  (PI.  B,  2;  Sant'  Alessandro),  built 
by  Vine.  Scamozzi  in  1614  on  the  site  of  an  earlier  edifice.  First  altar 
to  the  left :  Madonna  and  saints  by  0.  B.  Moroni  (1576) ;   behind 

14* 


212    Route  34.  BERGAMO.  Accademia  Carrara. 

the  higli-altar,  a  Madonna,  an  excellent  late  work  of  Oiov.  Bellini 
(1512;  generally  covered). 

A  little  to  the  E.  of  the  Piazza  Garibaldi,  in  the  Via  Colleoni, 
is  the  Luogo  Pio  Colleoni  (PI.  B,  C,  1),  once  the  dwelling  of  Bart. 
Colleoni,  who  bequeathed  it  to  the  city  for  an  orphanage  in  1466. 
On  the  groundfloor  are  some  frescoes  by  Paxino  da  Nova  and  other 
masters  of  the  15th  cent.;  among  them  is  an  equestrian  portrait  of 
Colleoni  (fee  1/2  fr.). 

We  now  return  to  the  station  of  the  cable-tramway  and  proceed 
thence,  to  the  left,  through  the  Strada  Porta  Dipinta,  passing  the 
church  of  SanV  Andrea  (PI.  C,  2),  which  contains  a  Madonna  en- 
throned with  four  saints,  by  Moretto  (altar  to  the  right;  covered). 
Fine  view.  The  street  leads  to  a  small  sloping  piazza  with  the 
church  of  San  Michele  al  Pozzo  Bianco  (PI.  D,  1 ;  key  at  Sant'  Andrea), 
which  contains  good  frescoes  by  Lor.  Lotto,  representing  the  An- 
nunciation and  the  Nativity  and  Marriage  of  the  Virgin  (ca.  1523; 
chapel  to  the  left  of  the  choir;  partly  concealed  by  the  altar-piece). 
—  We  may  proceed  to  the  right  through  the  Via  Osmano  to  the 
ramparts  (p.  211),  or  continue  to  follow  the  Strada  Porta  Dipinta 
to  the  left  to  the  Porta  SanV  Agostino  (PI.  D,  1),  near  which  is  the 
old  Gothic  church  of  the  same  name  (now  a  barrack).  —  Just  below 
the  gate  a  footpath,  lined  with  acacias,  leads  to  the  — 

Accademia  Carrara  (PI.  E,  1),  situated  a  short  way  outside 
the  Porta  Santa  Caterina  (tramway,  p.  209),  a  school  of  art  with  a 
*Picture  Gallery  (^Oalleria  Carrara,  Oal.  Morelli,  and  Oal.  Lochis ; 
open  daily,  10-4,  adm.  Yo  fr.  ;  on  1st  and  3rd  Sun.  of  each  month, 
and  daily  from  30th  Aug.  to  30th  Sept.,  10-3,  free  ;  at  other  times, 
1  fr.).  Catalogue  of  the  Gal.  Carrara  and  the  Gal.  Lochis  1  fr. ,  of 
the  Gal.  Morelli  60  c. 

First  Floor.  Unimportant  paintings;  coins,  medals,  etc.  —  On  the 
staircase  are  fragmentary  frescoes. 

Second  Floor.  Straight  in  front  is  the  Galleria  Cakrara.  I.  Room. 
To  the  right,  49.  Belotto,  Arch  of  Titus.  —  II.  Room.  To  the  left  on  enter- 
ing, *66.  Lotto,  Betrothal  of  St.  Catharine  (1523;  landscape  cut  out);  68. 
Previlali,  Madonna  and  saints;  67.  Cariani,  Invention  of  the  Cross;  7583. 
Moroni,  Portraits  (80,  *82,  83,  best ;  81,  an  early  work).  Then,  beyond  a 
series  of  portraits  (91  the  best)  by  Fra  Vittore  Ghislandi  (1655-1743),  the 
Bergamasque  Titian ;  98.  Gaudenzio  Ferrari,  Madonna ;  100.  Moroni,  St.  Jerome 
(in  Moretto's  manner).  Also,  on  the  side-walls,  74,  89,  114.  Al.  Varoiari, 
Copies  of  Titian's  famous  Bacchanalia.  —  III.  Room.  To  the  left,  137.  Caroto, 
Massacre  of  the  Innocents;  188.  Moroni,  Madonna  and  saints;  159.  F. 
Brueghel  the  Elder,  The  Woman  taken  in  adultery  (1565) ;  Lor.  Lotto,  356. 
Martyrdom  nf  St.  Stephen,  357.  Entombment,  358.  Miracle  of  St.  Dominic; 
Borgognone,  363.  Louis  IX.,  862.  St.  Agatha,  360.  St.  Lucy,  359.  St.  Stephen, 
361.  Pieta;  '354.  Lor.  Lotto,  Portrait  of  a  lady,  with  fine  moonlight  land- 
scape ;  355.  Moroni, Portrait ;  154.  V.  Foppa,  Crucilixion  (1456) ;  "153.  Mantegna, 
Madonna  (in  tempera).  —  To  the  right  of  R.  II.  is  the  — 

Galleria  Morelli,  bequeathed  in  1891  by  the  well-knov^'n  art-critic.  — 
I.  Room.  To  the  left,  3.  Vine.  Civerehio,  Annunciation;  7.  Bern.  Luini,Ma,- 
donna;  Franc.  PeseUino,  9.  A  judgment,  *11.  Marriage  of  Griselda  to  the 
Lord  of  Saluzzo  (after  Boccaccio's  Decameron) ;  17.  Vitt.  Pisano,  Lionello 
d'Este,  Duke  of  Ferrara;  20.  Luca  Signorelli,  Madonna;  22.  BoUraffio, 
Christ,   a  half-figure   (an  early  work);   23.  Baldovinetli,    Portrait   of  him- 


Castello.  BERGAMO.  34,  Route.   213 

self;  '26.  Ambrogio  de  Predis,  Portrait;  '27.  Oiov.  Bellini,  Madouna;  31.  Ercole 
(Irandi,  St.  John;  35.  Bemdetlo  da  Maiano,  Angel  (figure  in  clay);  41.  Oiov. 
Bellini.  Madonna ;  M.  Bart.  Montayna,  St.  Jerome.  —  II.  Room.  To  the 
left,  *61.  Basaili,  Portrait  (1521);  62.  Bacchiacca,  Cain  and  Abel;  70. 
Elsheimer,  Landscape,  with  St.  Jerome  ;  77.  B.  Fabriiius,  Satyr  and  peasant ; 
3'J.  Ovv.  Flinch  (not  Rembrandt).,  Portrait  of  a  woman  (1035);  91.  Empress 
Frederick  of  Qermany,  Trausitoriness  (1882) ;  90.  Lenbach,  Portrait  of  Morelli ; 
101.  ilorelto,  Christ  and  the  Woman  of  Samaria.  —  We  return  to  the 
staircase ;  on  the  right  is  the  — 

Gallekia  Loc'uis.  I.  Room.  21.  Jacobello  del  Fiore.  Madonna  enthroned 
with  angels,  and  six  scenes  from  the  Passion;  55.  Morelto,  Holy  Family.  — 

II.  Room.  Entrance-wall,  F.  Guardi,  Views  in  Venice;  179.  Oiorgione,  Land- 
scape with  mythological  accessories;  opposite,  il.  Paris  Bordone,  Landscape 
with  putti;  74.  Tiepolo,  Sketch  for  an  altar-piece  ;  32-34.  Lor.  Lotto,  Studies 
of  saints;   67.  Rubent,   Martyrdom   of  St.  Agnes   (a  sketch   in  colours).  — 

III.  Room.  To  the  left  of  the  entrance,  140.  Oiov.  Bellini,  Madonna  (an 
early  work;  retouched);  128.  Montagna,  Madonna  between  SS.  Sebastian 
and  Rochus  (1487);  129.  C.  d-ivelli.  Madonna;  138.  Giov.  Bellini,  Pieta 
(an  early  work) ;  137.  Boltra/fio,  131.  Ambrogio  Borgognone,  233.  Cosimo 
Tura,  Madonnas;  154.  Maiitegna  (Bonsignori?),  Portrait  of  Vespasiano 
Gon/.aga;  235.  Curpaccio,  Nativity  of  the  Virgin  (1504;  from  the  Scuola 
degli  Albanesi  at  Venice;  comp.  p.  333);  169.  School  of  ManUgna,  Resur- 
rection; 185.  Lor.  Lotto,  Holy  Family  with  St.  Catharine  (1533);  184. 
Cariani,  Portrait  of  a  physician;  °183.  Palma  Vecchio,  Madonna  between 
SS.  John  and  3Iary  Magdalen;  177.  Moretto,  Christ  appearing  to  a  donor 
(1518;  an  early  work);  207.  Raphael  (more  probably  Spagiia?),  St.  Sebastian  ; 
222.  AiUouello  da  Messina.  St.  Sebastian;  218.  Dosto  Dosti,  Madonna  with 
St.  George  and  a  canonized  bishop  (early  work) ;  225.  Vine.  Foppa,  St.  Jerome ; 
Borgognone,  "229.  Madonna,  219.  Procession ;  202.  Fra  Angelica,  Madonna 
and  angels  (early  work). 

A  more  extensive  view  than  that  from  the  ramparts  (p.  211)  is 
obtained  from  the  old  Castello,  about  2/4 M.  to  the  N.W.  of  the  Porta 
Sant'  Alessandro  (PI.  A,  1).  There  is  a  small  osteria  at  the  top.  — 
About  11/4  M.  to  the  W.  of  the  Castello  is  the  Pasco  dei  Tedeschi, 
commanding  a  good  view  of  the  Val  Brembana. 

Stkam  Tkamwai  from  Bergamo  to  Soncino  (p.  217),  26  M.  Intermediate 
stations:  3  M.  Seriate  (p.  217);  7'/2  M.  Cavernago  ,  the  station  for  (1  M.) 
the  chiileau  of  Malpaga.  the  home  of  Bart.  Colleoni's  old  age,  with  fres- 
coes by  Romanino;  15>/2  M.  Romano  (p.  217).  —  From  Bergamo  (rail, 
station,  PI.  D,  5,  6)  to  Trezzo  and  Moma,  see  p.  166.  —  Eailwat  via  Ponte 
San  Pielro  (p.  216)  to  Seregno,  see  p.  167.  From  Seregno  to  Saronno,  Busto 
Arsi^io,  and  Noiiara,  see  p.  68. 


35.  The  Bergamasque  Alps. 

1.     V.\I,    BllEMliANA. 

Light  Railway  (electric)  from  Bergamo  (stalicm,  PI.  E,  6)  to  San 
Giovanni  Bianco,  under  construction.  —  LUligenck  from  Bergamo  to  Olmo, 
twice  daily  in  5'/'.;-7'/a  hrs. ;  and  from  Zogno  to  Ser-na,  once  daily  in 
2'/j  hrs.  On  the  completion  of  the  light  railway  the  former  diligence 
will  start  at  Sau  Giovanni  Bianco. 

The  HiGURO.\D,  somewhat  monotonous  at  first  and  in  suuimer 
hot  and  dusty,  reaches  the  Val  Brembana,  or  valley  of  the  Brembo 
(p.  '210J,  at  (51  '2  M.)  Villa  d'Alinh  (980  ft.),  an  unimportant  village 
with  a  linen-factory,  situated  near  the  mouth  of  the  Imagna  Valley, 
in  wliicli  lie  the  small  sulphur-baths  o{  Sant'  Omohono.  —  The  next 


214  Route  35.  ZOGNO.  Bergamasque  Alps. 

village  is  Clenezzo  (960  ft.),  on  the  right  hank,  with  an  old  castle 
(10th  cent.)  and  commanded  by  the  Monte  Vbione,  once  also  crowned 
with  a  castle.  Close  hy  the  Imagna  is  spanned  hy  a  bridge  dating 
from  the  early  middle  ages. 

The  road  runs  high  above  the  Brembo  and  passes  below  the 
ancient  village  of  Botta  (on  the  right);  ou  the  river  below  are  the 
Bergamo  electric-power  works.  —  Beyond  (81/2  ^O'^^^'''""  (1052ft.), 
the  Gothic  church  of  which  (ca.  1400)  possesses  an  altar-piece  by 
Lor.  Lotto,  the  road  enters  a  picturesque  gorge,  at  the  other  end 
of  which  is  the  (10  M.)  Ponti  di  Sedrina,  a  double  bridge  crossing 
the  Brembo  and  its  affluent  the  Bremlilla. 

A  load  ascends  the  Brembilla  valley  to  the  small  sulphur-batha  of 
BremMUa,  its  chief  village,  then  crosses  the  ridge  known  as  the  Foppa 
Calda  and  leads  via  Gerosa  to  Tuleggio  (2625  ft),  the  largest  village  in 
the  Valle  Taleggio,  which  is  noted  for  Ihe  number  of  its  castles.  Peffhera, 
another  village,  has  an  altar-piece  hy  Palma  Vecchio. 

Our  road  follows  the  right  bank  of  the  Brembo  to  (IOI/2  M.) 
Zogno  (1096  ft. ;  inn),  the  quaint  capital  of  the  lower  Val  r>rembana, 
situated  in  a  fertile  valley.  The  high-lying  parish  church  of  San 
Lorenzo  contains  a  number  of  art-treasures.  Zogno  is  the  best 
starting-point  for  the  ascent  of  the  Monte  Canto  Alto  (3760  ft.), 
which  commands  a  wide  view  of  the  plains  of  Lombardy. 

The  Val  Serina  is  visited  from  Zogno  (diligence,  see  p.  213).  The 
road,  quitting  the  Val  Brenibana  a,t  A mbria  (see  below),  leads  through  a 
gorge  and  past  the  little  Lago  d'Algua,  recently  formed  bv  a  landslide,  to 
Serina  (2690  ft. ;  Posta;  Giardinetto),  at  the  foot  of  the  Monte  Allen  (6625  ft.). 
Serina  was  the  birthplace  of  Palma  Vecchio  (p.  291),  a  large  altar-piece 
by  whom  is  in  the  parish-church.  Through  the  Val  An  tea  to  San  Oiovanni 
Bianco,  see  below.  —  The  road  goes  ou  to  the  N.E.  via  Valpiana  to  the 
little  mineral  bath  of  Oltre  il  Colle  (3445  ft. ;  Albergo  Alpine),  situated  in 
a  beautiful  upland  vale  at  the  S.E.  base  of  the  Monte  Arera  (8240  ft.),  on 
which  are  galena-mines. 

Beyond  (11 1/2  M.)  ^m6rta  (see  above),  and  opposite  Piazzo  Basso, 
the  main  road  reaches  (131/2^.)  SanPellegrino  (ca.  1146  ft. ;  Grand 
Hotel,  pens.  10-14  fr.;  Alb.  delle  Terme,  pens.  10  fr.;  Alb.  Salaroli, 
pens.  7-10  fr. ;  Alb.  Milano,  pens.  9  fr.  incl.  wine;  Alb.  delta  Posta ; 
Alb.  del  Papa;  Alb.-Ristor.  Cavour,  R.  from  II/2  fr. ;  Ceffe  Isacchi),  a 
mineral-bath  frequented  by  Italians,  with  a  large  bathing-establish- 
ment and  three  thermal  saline  springs  (80"  6  Fahr.),  prescribed  for 
gout  and  for  affections  of  the  stomach  and  liver.  The  chief  season 
is  in  July  and  August.  The  valley,  noted  for  its  equable  climate 
in  summer  and  its  fine  pine-woods,  offers  many  pleasant  walks.  On 
the  Brembo  is  a  handsome  avenue  of  chestnut-trees. 

The  next  village,  San  Giovanni  Bianco  (1310  ft.;  Hotel  Val 
Brembana;  Trattoria  Luiselli),  at  the  confluence  of  the  Enna,  which 
descends  from  the  Valle  Taleggio  (see  above),  is  the  terminus  of 
the  new  light  railway  (p.  213).    Electric  zinc  foundry. 

Immediately  before  San  Giovanni  Bianco  a  branch-road  diverges  to 
the  left  from  the  main  road,  leading  to  the  high-lying  village  oi  Fuipiano, 
birthplace  of  Cariani,  the  painter  (ca.  1485-1541).  —  Another  road  leads 
to  the  E.  through  the  industrial   Valle  Antea  (large  zinc-mines)  via  Antea 


BergamasqueAlps.  CLUSONE.  35.  Route.   215 

and  Dossena  to  Serina  (p.  214).  The  paiisb  church  of  Dossena  pofsesses 
3(iiue  good  altar-pieces  by  Palnia  Vecchii)  and  others. 

A  memorial-tablet  in  Cornello  (1440  ft.),  the  next  village, 
denotes  the  ancestral  abode  of  the  Tassi  family,  of  which  the  poets 
Bernardo  and  Torquato  Tasso  were  members,  as  well  as  Omodeo  de' 
Tassi,  the  alleged  foiindtr  (in  r290j  of  the  modern  postal  system 
and  ancestor  of  the  princes  of  Thurn  and  Taxis,  the  German  post- 
masters-general. —  Thence  the  high-road  proceeds  via  Camerata 
and  Fonte  di  Ornbrembo  to  Lenna  (1518  ft.;  Allergo  dtl  Sole),  where 
the  two  upper  branches  of  the  valley  divide  —  the  Valle  di  Me'.zoldo, 
to  the  W.,  and  the  Valfondra,  to  the  E.  Farther  on  are  Piazza 
lirembana  (1758  ft. ;  Alb.  della  Posta),  the  capital  of  the  upper  Val 
Brembana,  and  Olmo  al  Bremho  (1824  ft.). 

From  Olmo  an  easy  pass  leads  via  ifezzoldo  (2740  ft.),  where  the  road 
ends,  to  the  refage-hut  (cautoniera)  Ca  San  Marco  (6010  It.)  and  the  Passo 
Sail  Marco  (C555  ft.),  descending  to  Albaredo,  in  the  Valle  del  Bitlo  di 
Aliaredo,  and  thence  t;)  Morbegno  (p.  I'Oj,  in  the  Val  Tcllina. 

From  Lenna  a  load  run.s  to  the  N.K.  in  the  beautiful  Valfondra  via 
Valnegra  (2170  ft.)  and  Moio  de''  Calvi,  and  through  the  Gola  di  Fondra, 
a  gloomy  ravine,  to  the  villages  of  Fondra,  Trabochello,  and  Branzi  (2770  ft. ; 
Alb.  Berera),  in  the  upper  part  of  the  valley.  From  Branzi  a  bridle-path 
leads  to  the  N.  to  the  Pnsso  Dordona  and  thence  through  the  Val  Madre 
to  the  .station  of  San  Pietro  Berbenno  (j).  181)  in  the  Val  Tellina;  another 
leads  to  the  K.  past  the  beautiful  Falls  of  the  Brembo  to  the  Refugio  ai 
Laghi  Gtm.  i/t  (6635  ft. ;  inn),  near  the  two  moi.ntain-lukes  on  the  W.  sl'^pe 
of  Monte  Corte  (8180  ft.),  and  thence  over  the  Passo  Aviasco  to  Valgoglio 
and  Oron.o  (p.  210),  in  ihe  Val  .Seriaua.  The  "Corno  Stella  (8595  ft.)  may 
be  ascended  from  Bian/i;  from  its  summit  a  magnificent  view  is  obtained 
of  the  Bergamasque  Alps,  the  Val  Tellina,  the  Alpine  chain  from  the 
Gran  Paradiso  and  Jlonte  Eosa  to  the  Ortler,  and  the  distant  plain  of 
Lomlardy. 

2.  Val  Sbriana. 

Railway  from  Bergamo  (station,  PI.  E,  6)  to  Ponte  della  Seloa,  18  M., 
in  I'/a  hr.  (fares  2  fr.  35,  1  fr.  70  c).  —  Diligence  from  Ponte  dtlla  Selva 
lo  Clnsone,  thrice  (".aily  in  3/4  hr.-,  from  Clusone  t(j  Bottdioiie,  once  daily  in 
ca.  3'/'4  his.;  and  from  Clusoue  to  Lovere,  once  daily  in  2Vi  hrs. 

The  Railway  descends  to  the  N.E.  through  the  picturesque  and 
industrial  Val  Seriana  (p.  210),  or  valley  of  the  Serio ,  halfway 
up  which  are  many  zinc  and  lead  mines  in  the  dolomitic  triass. 
—  41/2  M.  Akano,  where  the  church  of  San  Martino  contains  one  of 
i. otto's  best  works  (Death  of  Peter  Martyr);  good  wood-carviugs  in 
the  sacristy.  8  M.  Albino.  The  line  ascends,  supported  at  places 
by  arches  standing  in  the  bed  of  the  Serio.  11  M.  Gazzaniga,  at  the 
intrance  of  the  valley  of  Gundino. 

18  M.  Ponte  della  Stlva  (16G0  ft. ;  Albergo  Lonardi,  very  fair) 
is  the  terminus  of  the  line. 

UiQHROAD  thence  to  the  N.E.  to  (3  M.)  Clusone  (2125  ft.;  Alb. 
Gambero,  very  fair;  Alb.  Reale),  whence  a  road  diverges  to  the  S.E. 
passing  through  the  gorge  (orrtdo)  of  the  Val  Borlezza  via  Sovere 
(p.  216)  to  (8 1/0  M.)  Lovere  (p.  226). 

From  Clusone  the  main  route  proceeds  via  Ogna  (1815  ft.)  and 
ArdeMo  (1945  ft.)  to  the  (71/2  M.)  Ponte  di  Briolta,  where  we  reach 


216   Route  35.  TRESCORE. 

the  road  running  up  the  right  bank  of  tiie  Serio  from  Ponte  della 
Selva.  We  then  go  on  via  (10  M.)  Oromo  (2220  ft.;  Osteria  del 
Terzi,  very  fair),  most  picturesquely  situated,  and  (iSl/o  M.)  Fiume- 
nero  (2300  ft,;  Osteria  Morandi)  to  (17  M.)  Bondione  (2920  ft.; 
Alb.  della  Cascata,  above  the  village,  very  fair;  guide,  Seraflno 
Bonacorsi),  the  last  village  in  the  Val  Seriana.  A  bridle-path  (marked 
by  the  I.  A.  C.)  leads  hence  on  the  left  bank  of  the  Serio,  passing 
picturesque  cascades  and  ravines  (Ooi  di  Foncc,  Goi  del  Cd),  to  the 
(2  hrs.)  magnificent  *Ca3cate  del  Serio,  which  descend  in  three 
leaps  from  a  height  of  about  1000  ft.  into  a  romantic  cauldron  en- 
vironed by  snow-clad  mountains.  Above  the  falls  is  the  Conca  del 
Barbellino  (3  hrs.  from  Bondione),  with  the  finely  situated  Eipugio 
Curb  (6220  ft.)  of  the  Italian  Alpine  Club  (inn  in  summer).  The 
best  view  of  the  falls  is  obtained  from  the  *Belvedere,  protected  by 
iron  railings  (1^2  l^.  from  the  Rifugio  and  back). 

From  the  Rifugio  the  Pizzo  Re  Castello  (9475  ft. ;  31/2  hrs.),  the  Monte 
Gleno  (9460  ft.;  3V2-4  hrs.),  the  Monte  Torena  (9550  ft.;  4  hr3.),  the  Pizzo 
del  Diavolo  (9600  ft. ;  4  hrs.),  and  the  Pizzo  di  Coca  (10,015  ft. ;  5  hrs.) 
may  be  ascended  with  a  guide.  —  Hence  we  may  proceed  over  the  Passo 
della  Malgina  (ca.  9055  ft.)  and  through  the  finely  wooded  Val  Malgina  to 
San  Oiacomo  and  (7-8  hrs.)  Teglio  (p.  ISl),  in  the  Val  Tellina  (a  pleasant 
trip).  Or  we  may  pass  the  small  Barbellino  Lake  (6995  ft. ;  to  the  N.E.) 
and  the  sources  of  the  Serio  and  ascend  to  (3  hrs.)  the  Passo  di  Caronella 
(8565  ft.);  we  then  descend  through  the  Valle  di  Caronella  to  (3  hrs.)  Carona 
(3710  ft.;   accommodation  at  the  Cure's)  and  (l'/2  hr.)  Tresenda  (p.  181). 


From  Bergamo  to  Sarnico  vik  Trescore. 

22'/2  M.  Stbam-Teamwat  in  ca.  21/2  hrs. 

The  tramway  first  crosses  the  lower  Val  Seriana  (p.  210).  — 
31/2  M.  Villa  di  Serio.  —  It  then  traverses  fertile  hilly  country  and 
descends  to  the  S.E.  via  (81/2  M.)  Cenate  to  flO^/o  M-)  Trescore 
Balneario  (890  ft.),  a  small  watering-place  with  sulphur-baths,  in 
the  Val  Cavallina.  Near  Trescore  is  the  Villa  Suardi,  with  fres- 
coes by  Lor.  Lotto,  dating  from  1524. 

From  Trescore  a  light  railway  ascends  the  Val  Cavallina,  passing  (3  M.) 
Borgo  di  Terzo,  (7  M.)  Spinone,  and  the  pretty  lake  of  the  same  name,  to 
(IOV2M)  Endine;  finally  it  descends  into  the  Borlezza  Valley  to  (141/2  M.) 
Sovere-Pianico  (p.  215). 

Beyond  Trescore  our  line  descends  the  Yal  Cavallina  to  (12  M.) 
Gorlago  (p.  217),  then  skirts  the  foot  of  the  mountains  to  (16  M.) 
Grumdlo  (p.  217),  and  lastly  ascends  the  Oglio  Valley  to  (22^/2  M.) 
Sarnico  (p.  225). 

36.  From  Lecco  to  Brescia  via  Bergamo. 

51'/2  M.  Railway  in  3-4Vi  hrs.  (fares  9  fr.  65,  6  fr.  76,  4  fr.  35  c).  We 
change  carriages  at  Kovato. 

Lecco,  see  p.  170.  —  2'^  M.  Maggianico ;  A  M.  Vercurago-San 
Girolamo;  A^/2  M.  Calolzio,  all  stations  on  the  line  from  Lecco  to 
Monza  and  Milan  (p.  170).  —  16  M.  Ponte  San  Pietro,  with  a  pretty 


TREVIGLIO.  37.  Route.   217 

church  and  an  old  castle,  the  junction  for  Seregno  (see  p.  167).  — 
We  cross  the  Brembo  (p.  210). 

2OV2  M.  Bergamo  (^p.  209). 

Near  1^23'/.,  M.)  Seriate  the  -Serio  (p.  210)  is  crossed.  28  M. 
Gorlago  (p.  216).  —  311/2  M.  Grumello  del  iMonte.  The  Oglio 
(p.  225)  is  next  crossed.  —  34  M.  Palazzolo  (branch  to  Paratico, 
p.  225) ;  pretty  view  of  the  village,  to  the  left.  —  39  M.  Coccaglio,  with 
the  convent  of  MonV  Orfano  on  a  height;  iO^/o  M.  Rovato  (p.  218). 

511/2  M.  Brescia,  see  p.  219. 

37.  From  Milan  to  Verona  via  Brescia. 

93  M.  Eailway  in  3-6»/4  Urs.  (fares  17  fr.  40,  12  fr.  20,  7  fr.  85  c, 
express,  19  fr.  15,  13  fr.  40,  8  fr.  70  c).  The  'train  de  luxe'  (Cannes- 
Vienna)  mentioned  at  p.  IS)  may  be  used  in  winter  (21/2  hrs.).  —  Railway 
Stations  in  Verona,  see  p.  243. 

Milan ,  see  p.  128.  —  12  M.  Melzo.  At  (16  M.)  Cassano  d'Adda 
we  cross  the  hlue  Adda. 

Ab()Ut  41/2  ^-  to  'be  N.  of  Cassano  is  the  little  town  of  Vaprio  d'Adda, 
terminus  of  the  light  railway  from  Milan  via  Villa  Fornaci.  In  the  Villa 
Melzi  is  a  fresco  of  the  Madonna  of  the  school  of  Leonardo  da  Vinci. 

20  m.  Treviglio  (410  ft. ;  Regina  d" Inghilterra ;  Rail.  Restaurant, 
de'j.  21/2,  D.  31/0  fr.),  a  town  of  5900  inhab.,  is  the  junction  of  a 
line  to  Bergamo  (p.  209).  The  church  of  San  Martino  has  an  altar- 
piece  by  Butiuone  and  Zenale. 

From  Tkkviglio  to  Ckeuoka,  40  M.,  railway  in  13/4-2'/2  hrs.  (fares 
7  fr.  65,  5  fr.  30,  3  fr.  40  c).  —  31/2  M.  Caravagyio  (365  ft.),  .1  town  of 
7700  inhab.,  with  the  pilgrimage-church  of  the  Madonna  di  Caravaggio, 
wa-s  the  birthplace  of  the  painter  Michael  Angelo  Amerighi  da  Car;ivaj;gio 
(1569-1609).  The  small  church  of  San  Bernardo  is  richly  embellished  with 
frescoes  in  the  style  of  Luiui.  Steam  -  tramway  to  Mtinza  (p.  1613).  — 
13'/2  M.  Crema  (240  ft.-.  Alh.  Pozzo),  an  industrial  town  (80UO  inhab.)  and 
episcopal  residence,  with  an  ancient  castle.  The  Cathedral  has  a  fine 
Romanesque  facade,  and  contains  a  painting  (SS.  Sehastian,  Christopher, 
and  Ilochus)  by  Vine.  Civerchio  (2nd  altar  on  the  left).  —  About  V4  M. 
fr.m  the  town  stands  the  circular  church  of  "Santa  Maria  delta  Croce, 
wilh  effective  subsidiary  buildings  in  brick,  built  about  1490  by  Giov. 
Batt.  Battaggio  of  Lodi,  under  the  influence  of  Bramanle.  The  interior, 
octagonal  in  form,  is  adorned  with  paintines  by  Campi.  Steam -tramway 
to  Soucino  and  Lodi  (Jlilan)  see  p.  353.  —  24  M.  Soresina;  30  M.  Casalbuttatw. 
—  33V2  M.   Olmenela  (•).  209).  —  40  M.  Cremona,  see  p.  206. 

We  cross  the  Strio  (p.  210).  —  28  M.  Romano  di  Lombardia, 
junctim  for  the  light  railway  from  Bergamo  to  Soncino  (p.  213\ 

The  little  town  of  Soncino  ('275  ft.),  situated  on  the  Oglio  (p.  225), 
101,2  M.  to  the  S.E.  of  Romano,  is  the  terminus  of  the  above-mentioned 
steam-tramway  from  Milan  via  Lodi  and  Crema  (p.  358),  and  is  connected 
by  a  similar  tramway  with  Brescia  (p.  225).  It  contains  a  handsome  Casietlo, 
built  in  1469-75  by  Ben.  Perrini  for  Galeazzo  Maria  Sforza.  The  Palazzo 
Viala,  with  a  tasteful  terracotta  facade,  and  the  church  of  Santa  Maria 
Utile  Grazie  (founded  in  1492),  with  frescoes  by  Ginl.  and  Bern.  Campi, 
are  also  interesting.  —  The  Palazzo  Barbi,  at  Torre  Pallaviciiia,  on  the 
Oglio,  3  M.  to  the  N.,  has  a  charmingly  painted  interior,  due  to  the  Campi. 

Beyond  (32  M.)  Calcio  the  Oglio  is  crossed.  —  36V2  M.  Chiari, 
an  old  and  industrious  town  of  4200  inhab.,  starting-point  of  the 


218  Route  37.  SOLFERINO. 

steam-tramway  to  Iseo  (R.  39).  401/2  M.  Rovato  (Rail.  Restaurant), 
junction  of  the  Bergamo-Brescia  line  described  on  p.  217. 

51  M.  Brescia,  see  p.  219. 

From  Bkbscia  to  Pabma  ,  67  M. ,  railway  in  2'/4-33/4  bra.  (fares  10  fr. 
70,  7  fr.  50,  4  fr.  85  c).  —  The  chief  intermediate  stations  are  Viadana 
(14ViM.;  p.  2li3),  Piadena  (321/2M.;  p.  209),  junction  of  the  Cremona  and 
Mantua  line,  and  (411/2  M.)  Casalmaggiore  (p.  2UU),  connected  with  Cremona 
by  steam-tramway.  —  57  M.  Parma^  see  p.  364. 

From  Brescia  to  Cremoru(,  see  p.  209 ;  to  Bergamo  and  Lecco,  see  E.  3(5 ; 
to  Voharno  via  Rezzalo,  see  p.  228.  —  Steam- tramways  from  Brescia,  see 
pp.  225,  227,  22s. 

56  M.  Rezzato  (p.  228).  The  Chiese  is  crossed.  —  Beyond  (65  M.) 
Lonato  the  train  iutersucts  the  W.  edge  of  the  belt  of  moraines, 
that  encloses  the  S.  end  of  the  Lago  di  Garda  from  the  Chiese  to  the 
valley  of  the  Adige,  forming  several  concentric  semicircles,  inter- 
rupted by  steep,  isolated  heights. 

A  long  viaduct  now  carries  the  line  to  (681/2  M.)  Desenzano 
(p.  230).  Admirable  *,Survey  in  clear  weather  to  the  left  of  the  blue 
Lago  di  Oarda  and  the  peninsula  of  Sirmione  (p.  231J. 

72  M.  San  Martino  della  Battaglia.  A  monument  on  the  right 
commemorates  the  battle  of  Solferiuo,  where  the  French  and  Pied- 
montese  under  Emp.  Napoleon  III.  and  King  Victor  Emmanuel  II. 
defeated  the  Austrians  under  Etnp.  Francis  Joseph,  24th  June,  1859. 

The  village  of  Solferiuo  (675  ft.)  lies  on  the  S.W.  margin  of  the  hills 
bordering  the  Lago  di  Garda  on  the  S.,  about  7'/2  M.  lo  the  S.  of  Desenzano 
and  about  5  M.  to  the  S.W.  of  San  Martino.  It  formed  the  centre  of  the 
Austrian  position,  and  was  taken  about  1  p.m.  by  the  French  guards.  The 
heights  of  San  Martiao  to  the  N.E.  were  held  by  General  Benedek,  who 
repulsed  the  attacks  of  the  Piedmontese  until  nightfall,  and  only  abandoned 
his  position  on  receiving  the  order  to  retreat.  The  left  wing  of  the 
Austrian  army,  attacked  by  the  French  under  General  Niel,  also  maintained 
its  position  until  late  in  the  afternoon.  —  Hurried  travellers  content  them- 
selves with  a  visit  to  the  Tower  of  San  Martino  (adm.  50,  on  Sun.  and 
holidays  26  c.),  3/4  M.  to  the  S.  of  the  railway-station  of  that  name,  and  6  M. 
to  the  S.  of  Sirmione.  This  structure,  erected  to  commemorate  the  battle 
of  Solferiuo  and  converted  into  a  military  museum  in  1893,  stands  upon 
a  platform  65  ft.  in  width  and  rises  to  a  height  of  243  ft.  We  first  enter 
a  circular  chamber,  in  the  centre  of  which  is  a  statue  by  Ant.  Dal  Zotto, 
representing  Victor  Emmanuel  IX.  as  the  commander  of  the  Italian  troops 
at  Solferiuo.  On  the  walls  are  scenes  from  the  life  of  the  King,  and  on 
the  vaulting  are  eight  allegorical  figures  representing  the  chief  cities  of 
Italy,  all  painted  in  wax-colours  by  Vitt.  Bressanin.  The  two  niches  contain 
busts  of  the  eight  Italian  generals  who  fell  in  the  wars  of  independence. 
F'rom  the  round  chainber  an  easy  staircase  ascends  to  seven  room.^.  one 
above  another,  each  containing  a  battle-painting  and  reminiscences  of  one 
of  the  seven  campaigns  of  the  wars.  From  the  uppermost  room  we  emerge 
on  the  platform  of  the  tower,  which  not  only  commands  the  battlefield 
(chief  points  indicated  by  arrows)  but  also  affords  an  extensive  *View  of 
the  Lago  di  Garda  and  the  chain  of  the  Alps.  Near  the  tower  are  a  post- 
offlce,  a  modest  trattoria,   ;iud  a  Chavnel  /louse,  surrounded  by  cypresses. 

77  M.  Feschiera  sul  Garda  (p.  236  ). 

791/2  M.  Castelnuovo  di  Verona.  —  84  M.  Sominacampayna , 
5  M.  to  the  N.E.  of  Gustozza  (p.  257).  —  91 1/2  M.  Verona  Porta 
Nuova.  The  Adige  is  crossed;  fine  view  of  tbe  town  to  the  left. 
93  M.  Verona  Porta  Vescovo,  see  p.  243.  —  To  Venice,   see  R.  43. 


219 


38.    Brescia. 


The  Railway  station  (PI.  A,  4;  Restaurant)  lies  at  the  S.W.  end  of  the 
tiiwn,  near  the  Porta  Stazione.     Totcn  Office  at  Via  San  Martino  5  (P).  C,  3). 

Hotels.  Albekco  d'Italia  (PI.  b;  C,  3),  Corso  Zananlelli,  with  good 
restaurant,  R.  2'/:-3V'ii  omn.  3/4  fr. ;  Hotei,  Brescia  (PI.  a;  B,  3),  Via  Um- 
berlo  Prime,  with  steam-beating  and  restaurant,  R.  21/2-3,  omn.  ^4  f''- ; 
Alb.  Locatklli,  at  the  station,  very  fair;  Gallo  (PI.  c;  C, 3),  Via  Trieste  3, 
K.  from  2,  steam-heating  Vi  fr.,  plain  but  good;  Pamteo,  Via  Porta  Nuova, 
R.  from  IV2,  tlic^e  two  with  trattorie. 

Cafes.     Stefanini^  Grande,  Centrale,  Corso  Zauardelli. 

Post  &  Telegraph  Office  (PI.  20;  C,  2),  Piazza  Posta. 

Photographs,  by  Brogi  and  Alinari  (p.  462),  to  be  had  at  the  galleries 
and  at  Capilanio's,  Corso  Vittorio  Emanuele  40. 

Cabs  (Cilt(idine):  1  fr.  per  drive,  IV2  fr.  per  hour,  to  the  castle  1  fr. 
exlr;i.     Trunk  20  c. 

Tramway  from  the  railway-station  and  Porta  Milano  to  Porta  Venezia. 

Principal  Attractions  (1  day).  Municjpio  (p.  220);  Cathedral  (p.  220); 
Collection  of  Antiquities  (p.  221);  San  Cleraente  (p.  222);  Martinengo 
Galleries  (p.  223) ;  Santi  Nazzaro  e  Celso  (p.  221) ;  San  Francesco  (p.  225) ; 
San  Giovanni  Evangelista  (p.  221);  walk  near  the  Castello  (p.  225). 

Brescia  (490  ft.),  capital  of  a  province  and  see  of  a  bishop, 
with  44,200  inhab.,  is  beautifully  situated  at  the  foot  of  the  Alps, 
and  its  tiuiuerous  fountains  of  limpid  water  lend  it  an  additional 
charm.  Iron  wares,  and  particularly  weapons,  form  the  staple  com- 
modities, many  of  the  fire-arms  used  by  the  Italian  army  being  made 
here.    The  woollen,  linen,  and  silk  factories  also  deserve  mention. 

Brescia,  the  ancient  Celtic  Drixia,  afterwards  a  Roman  colony,  was 
from  1167  one  of  the  most  active  members  of  the  confederation  of  Lom- 
bard towns  (|>.  126).  In  1238  it  was  besieged  in  vain  for  two  months  by 
Emp.  Fr,:devick  II.,  but  in  1258  it  fell  into  the  hands  of  Ezzelino  (p.  245). 
It  afterwards  belonged  successively  to  the  Scaligers  of  Verona,  the  Visconti 
of  Milan  (1421-26),  and  the  Venetians,  the  last  of  whom  here  successfully 
repulsed  a  Milanese  army  uuJer  Nic^:.  Piccinino  in  1438.  Brescia  vied  with 
MUan  at  the  beginning  of  the  16th  cent,  as  one  of  the  wealthiest  cities 
of  Lombardy,  but  in  1512  was  sacked  and  burned  by  the  F'rench  under 
Oaston  de  Foix  (p.  420j  after  an  obstinate  defence.  Five  years  later  it 
was  restored  to  Venice,  to  which  it  belonged  till  1797,  but  it  has  never 
recovered  its  ancient  importance.  After  the  unsuccessful  revolt  of  1848, 
Brescia  alone  of  all  the  Lombard  towns  rallied,  under  the  youthful  Tito 
Speri,  to  Charles  Albert's  renewed  attempt  in  1849;  but  it  was  bombarded 
by  the  Austrians  under  Haynau  and  after  ten  days  of  obstinate  street- 
fighting  was  taken  on  April  2nd.  —  Arnold  of  Brescia,  a  pupil  of  Ab^lard, 
was  one  of  the  most  prominent  leaders  of  the  reforming  movement  in  Italy 
in  the  middle  ages;  lie  attacked  the  secular  power  and  wealth  of  the  clergy, 
and  after   being    excommunicated   by  Hadrian  IV.  was  executed  in  1155. 

Brescia  is  noteworthy  in  the  history  of  art  as  the  birthplace  of  Aletsandro 
Bonvicino,  snrnamed  il  Moretto  (1498-1555).  He  has  been  classed  with  the 
Venetian  school,  but  erroneously,  for  nearly  all  the  schools  of  the  'Ttrra 
Ferma'  have  had  an  independent  development;  and,  like  the  Veronese 
masters,  he  is  distinguished  from  that  school  by  the  comparative  sober- 
ness of  his  colouring  ('subdued  silvery  tone'),  although  he  vies  with  the 
Venetians  in  richness  and  brilliancy,  while  be  sometimes  reveals  a  full 
measure  of  the  ideality  of  the  golden  period  of  art.  Bonvicino  rarely 
extended  the  sphere  of  his  labours  beyond  his  native  place,  and  Brescia  is 
therefore  abundantly  stored  with  his  works.  The  churches  here  (such  as 
San  Clemcnte,  p.  222)  display  his  fertility,  both  as  a  painter  'al  fresco'  and 
in  oils,  forming  quite  a  museum  of  his  pictures.  San  Giovanni  Evangelista 
(p.  224),  Santi  Nazzaro  e  Celso  (p.  224),  and  the  Galleria  Martinengo  (p.  223) 
all    contain  admirable  specimens  of  his  powers.     Among  Moretto's  pupils 


220  Route  38.  BRESCIA.  Duomo. 

was  Oiov.  Ball.  Moroni  (ca.  1520-77),  one  of  the  best  portrait-painters  of 
the  Renaissance.  Another  eminent  master  of  Brescia,  a  contemporary  of 
Bonvicino,  was  Oirol.  Romanino  (1485-1566);  his  best  works  are  to  be  seen 
in  San  Francesco  (p.  225),  San  Giov.  Evangelista  (p.  224),  and  at  Padua.  — 
Brescia  also  contains  several  interesting  antiquities  (p.  221). 

The  centre  of  the  town  is  the  picturesque  Piazza  del  Comune 
(formerly  Piazza  Vecchia),  in  which  rises  the  *]ttuiiicipio  (PI.  14; 
li,  C,  2),  usually  called  La  Loggia,  hegun  in  the  early-llenaissance 
style  by  Tomm.  Fromentone  of  Vicenza  in  1492,  but  unfinished 
until  Jacopo  Sansoviiio  completed  the  upper  part  in  1554-74.  The 
window-mouldings  are  by  Palladio  (1550).  The  large  saloon  on  the 
upper  story  and  the  lofty  vaulted  roof  were  destroyed  by  a  lire  in 
1575.  The  exterior  of  this  magnificent  structure  is  almost  overladen 
with  ornamentation,  including  a  series  of  emperors'  heads  by  Tamag- 
nino  and  others  ;  and  a  charming  'putto'  frieze  by  Sausovino  (1558). 
On  the  groundfloor  is  a  deep  colonnade ;  in  front  are  pillars  and 
pilasters.  The  upper  floor  recedes  considerably.  The  octagonal  ad- 
dition on  the  top  is  due  to  L.  Vanvitelli  (1769-73).  —  The  handsome 
adjacent  building  on  the  right,  the  Archivio  e  Camera  NotaTile(Tl.  1), 
is  probably  also  by  Fromentone. 

On  the  opposite  (E.)  side  of  the  Piazza,  above  an  arcade,  rises 
the  Torre  dell'  Orologio,  or  clock-tower,  with  a  large  dial  (1  to  24). 
The  bell  is  struck  by  two  iron  figures  as  at  Venice  (p.  297).  — 
To  the  left  rises  a  Monument,  erected  to  the  Brescians  who  fell 
in  1849.  —  The  S.  side  of  the  piazza  is  occupied  by  the  Monte  di 
Pieth,  a  plain  Renaissance  building  begun  in  1484 ;  the  E.  half,  with 
a  handsome  loggia,  was  erected  in  1597  by  Pier  Maria  Bagnadore. 

To  the  S.E.  of  the  Piazza  del  Comune  is  the  *Duomo  Nuovo 
(PI.  C,  3),  a  handsome  church  begun  in  1604  by  Oiov .  Batt.  Lantana 
(but  the  dome,  270  ft.  high,  not  completed  till  1825).  It  is  in  the 
form  of  a  Greek  cross,  with  a  lengthened  choir. 

Intekiok.  By  the  first  pillar  on  the  right  is  the  large  monument  of 
Bishop  Nava  (d.  1831),  by  Monti;  by  the  first  pillar  on  the  left,  the  mon- 
ument of  Bishop  Ferrari  (d.  1846).  By  the  third  altar  on  the  right  is  a 
sarcophagus  with  small  reliefs  (1510),  containing  the  '■Corpora  D.  D.  Apol- 
lonii  el  Philastri\  transferred  hither  in  1674  from  the  crypt  of  the  old 
cathedral.  —  High-altar-piece,  an  Assumption  by  ZoboH,  designed  by  Seb. 
Conca  (18th  cent.). 

From  a  door  between  the  2nd  and  3rd  altars  25  steps  descend 
to  the  Duomo  Vecchio  (PI.  C,  3),  generally  called  LaRotonda  (shown 
by  the  sacristan  of  the  Duomo  Nuovo).  This  massive  dome-struc- 
ture (of  the  10th  cent.  ?)  is  circular,  as  its  name  imports,  with  an 
ambulatory,  and  rests  on  eight  short  pillars  in  the  interior.  Beneath 
is  the  crypt,  or  Basilica  di  San  Filastro  (now  lighted  by  electricity), 
supported  by  42  columns.  This  represents  an  early  -  Christian 
basilica,  the  ground-plan  of  which  was  probably  followed  in  the 
curious  old  addition  on  the  E.  side  of  the  church,  consisting  of  a 
transept  and  choir  with  lateral  chapels. 

On  the  W.  side  of  the  above-mentioned  ambulatory  is  the  tomb  of 
Bishop  Maggi  (d.  1308),  by  Ugo  da  Campione(1).  —  Altar-piece  in  the  added 


Museum  of  Antiquities.     BRESCIA.  38.  Route.   221 

clioir,  an  'Assumption  by  Moretto  (1526);   at  the  sides,   a  Presentation  in 
the  Temple  and  a  Visitation,  by  Romanino. 

Opposite  tho  E.  side  of  the  Duomo  Nuovo  is  the  entrance  to 
the  Biblioteca  Queriniana  (PL  4,  C,  3  ;  fee  1/2  fr-),  of  40,000  vols., 
bequeathed  to  the  town  in  1747  by  Cardinal  Querini.  Several 
curiosities  are  preserved  in  a  separate  cabinet.  (Admission  9-4, 
in  wiT\ter  9-3,  on  "Wed.,  Sun.,  and  high  festivals  12-3;  vacation 
Oct.  lst-20th.J. 

Book  of  the  Gospels  of  the  9th  cent.,  with  gold  letters  on  purple 
vellum;  Koran  in  12  vols.,  with  miniatures  and  gilding;  an  old  Book  of 
the  Gospels,  and  a  Harmony  of  the  Gospels  by  Eusehius  (10th  cent.), 
with  miniatures;  14th  cent.  MS.  of  Dante  on  parchment,  with  miniatures; 
a  Petrarch  of  1470  with  various  illustrations  C^Petrarca  figuratoi')  and 
written  annotations;  a /)a«(e  with  numerous  wood-cuts,  printed  at  Brescia 
in  1487,  etc. 

The  Broletto  (PI.  C,  2,  3),  a  massive  building,  adjoining  the 
cathedral  on  the  N.,  dates  from  1187  and  1222  bnt  was  not  entirely 
completed  until  the  15-17th  centuries.  Anciently  (until  1421)  the 
town-hall,  it  now  contains  the  courts  of  justice  and  the  prefecture. 
The  campanile  on  the  S.  side,  the  Torre  del  Popolo,  belongs  to  the 
original  edifice,  which  is  now  being  restored  in  the  initial  style. 

The  Gothic  brick  fagade  of  the  former  church  of  SanV  Agostino 
is  incorporated  with  the  W.  side  of  the  Broletto,  past  which  the 
Yicolo  Sant'  Agostino  ascends  to  the  Piazza  Tito  Speri  (PI.  C,  2),  at 
the  entrance  to  the  Castello  (p.  225).  This  piazza,  now  embellished 
with  a  monument  to  Tito  Speri  (p.  219;  b.  1827,  executed  at  Mantua 
in  1853),  was  one  of  the  most  obstinately  contested  points  in  1849. 

The  Contrada  Broletto  and  the  Via  Santa  Giulia  run  hence  to 
the  E.  to  the  Piazza  del  Museo  (PI.  D,  2,  3),  occupying  the  site  of 
the  Roman  Foruin,  of  which  the  Porticus  on  the  E.  side  is  a  relic. 
At  the  N.  end  of  the  piazza  is  the  entrance  to  the  — 

*Museum  of  Antiquities  {Museo  Civico  Eta  Romana  or  Museo 
Patrio;  PI.  D,  2;  week-days  10-4,  Nov.  to  Feb.  10-3,  fee  1  fr., 
which  admits  also  to  the  Mediaeval  Museum;  free  on  Sun.  in 
summer,  1-4).  The  museum  occupies  an  ancient  Corinthian  Temple 
0/  Hercules,  excavated  in  1822,  which,  according  to  inscriptions, 
was  erected  by  Vespasian  in  A.D.  72.  The  dilapidated,  but  ex- 
ceedingly picturesque  temple  stands  on  a  lofty  substructure,  with 
a  projecting  colonnade  of  ten  columns  and  four  pillars  to  which  the 
steps  ascend,  and  has  three  cellne  of  moderate  depth. 

The  pavement  of  the  Principal  Hall  has  been  restored  from  the 
original  remains.  By  the  back-wall,  as  in  the  other  chambers,  are  placed 
the  bases  of  the  temple  images.  Among  the  Roman  inscriptions  and 
sculptures  is  an  archaic  head;  also  two  tombs  of  the  flint  period.  The 
cabinets  contain  objects  found  in  Roman  tombs  in  the  newly  discovered 
cemetery  near  the  station  and  elsewhere;  Koman  cuins.  —  The  Room  on 
THE  Right  contains  fragments  of  a  colossal  temple- figure,  ancient  glass, 
vases,  coins,  bronzes,  etc.  —  In  the  Room  on  the  I/Kkt  are  architectural 
fragments,  gilded  bronze  busts,  a  gibbd  bronze  statuette,  and  above  all 
a  "Slaine  of  Victory,  excavated  in  1826,  a  bronze  figure  about  6'/2  ft.  in 
height,  with    a  silver-plated   diadem   round  her  head,   a  (restored)  shield. 


222    Route  38.  liRESCIA.  Mediaeval  Mxtseum. 

on  which  she  is  about  to  write,  in  her  left  hand,  and  a  (restored)  helmet 
under  her  left  foot,  one  of  the  most  precious  existing  specimens  of  ancient 
plastic  art.  In  the  cabinet  on  the  left  are  fragments  of  a  bronze  biga  and  of 
the  breastplates  of  the  horses;  the  other  cabinets  contain  mediteval  coins. 

A  couple  of  min.  to  the  S.  may  be  seen  some  remains  of  the  Roman 
Curia,  built  into  the  N.  side  of  the  small  Piazza  del  Beveratore;  and 
a  few  traces  of  the  Roman  Theatre  may  be  noticed  in  the  court  of 
the  Casa  Gambara,  in  the  Vicolo  Foiitanone. 

Farther  along  the  Via  Santa  Giulia  (p.  221  J,  and  in  the  upper 
part  of  the  Via  Veronica  Gambara,  rises  a  large  block  of  buildings, 
including  three  churches.  These  are  relics  of  the  convent  of  San 
Salvatore  or  Santa  Oiulia,  founded  by  the  Lombard  King  Desiderius. 
The  church  of  Santa  Maria  del  Solario  {P\.  D,  2,  3)  is  Romanesque 
(ll-12th  cent.).  The  other  churches,  Snn  Salvatore  (8th  cent.)  and 
Santa  Oiulia  (1466-1599),  have  been  occupied  since  1882  by  the 
Mediaeval  Museum(Afwsco  CivicoEth  Cristiana,  or  Museo  Medioevale; 
PI.  D,  2;  adm.  same  price  and  times  as  the  Museum  of  Antiquities, 
see  p.  221). 

In  the  Vksiibulk,  a  bast  of  Fra  Paolo  Sarpi  (p.  3'23j.  In  the  New  Pakt 
of  the  church,  on  the  wall  to  the  left,  fine  weapons,  architectural  remains 
with  interesting  ornaments  of  the  Lombard  period,  majolicas;  in  front, 
the 'Cross  of  Galla  Placidia'  (p.  410),  of  8th  cent,  workmanship,  decorated 
with  gems  of  various  periods  and  portraits  of  the  empress,  her  brother 
Honorias,  and  her  son  Valentinian  III. ;  in  the  centre,  ivory  reliefs,  in- 
cluding consular  diptychs  of  Boethius  and  Lampadius  (5th  cent.)  and  the 
Diptychon  Qnerinianum,  medallions,  Renaissance  bronzes;  on  the  N.  wail, 
Venetian  glass,  marble  door  (16th  cent.)  from  a  church  at  Chiari,  Limoges 
and  Venetian  enamel,  uiello  work,  and  the  'Lipsanoteca'  or  sides  of  a 
reliquary  of  the  4th  cent.,  carved  in  ivory  and  arranged  in  the  form  of  a 
cross.  —  In  the  Old  Part  of  the  church,  the  monument  of  the  Venetian 
general  Orsini  (1510) ,  and  the  Mausoleum  of  Marcantonio  Martinengo 
(16th  cent.),  with  reliefs  in  bronze,  from  the  church  of  San  Cri.sto  (see 
below).  The  lectern  opposite  is  adorned  with  intarsia  by  Raffaello  da 
Brescia  (1518).  —  On  the  back-wall,  a  fresco  of  the  16th  century.  — 
Finally  we  descend  into  the  lower-lying  church  of  Sati  Salvatore,  which 
contains  a  collection  of  frescoes  (15-l6th  cent.). 

The  church  of  Sail  Crista  (PI.  D,  2),  above  the  Museum,  has  a 
facade  with  interesting  brick -ornamentation.  —  San  Pietro  in 
Oliveto  (PI.  D,  E,  2)  is  a  Renaissance  church  by  Sansovino(?). 

The  Via  San  Olemente  leads  to  the  right  from  the  Via  Veronica 
Gambara  to  San  Clemente  (PI.  9 ;  D,  3),  a  small  church  containing 
a  modern  monument  to  Moret<o(p.  219 ;  to  the  left)  and  five  of  his 
works,  much  injured  by  retouching.  The  church  is  badly  lighted 
and  is  closed  8-5 ;  sacristan,  in  the  lane  to  the  W. 

On  the  right,  2nd  altar,  "SS.  Cecilia,  Rarbara,  Agnes,  Agatha,  and 
Lucia:  a  charming  composition,  in  which  the  repellant  attributes  of 
martyrdom  are  handled  with  such  marvellous  naivete  as  almost  to  assume 
an  attractive  air  (C.  &  C).  On  the  left,  1st  altar,  St.  Ursula  and  the 
Eleven  Thousand  Virgins ;  2nd  altar.  Madonna  with  SS.  Catharine  of 
Alexandria,  Catharine  of  Siena,  Paul,  and  Jerome;  3rd  altar,  Abraham  and 
Melchisedech.  "High-altar-piece,  Madonna  with  SS.  Clement,  Dominic, 
Florian,  Catharine,  and  Mary  Magdalen. 

A  little  to  the  S.E.  is  Santa  Maria  CAlchera(Pl.  12;  D,  3).  First 
altar  to  the  left:  Simon  the  Pharisee  and  Christ  by  Moretto.  Second 


Aleneo  Martinengo.  BRESCIA.  38.  Route.   223 

altar  to  the  right :  *St.  Apollonius  blessing  the  Host,  by  Romanino. 
Small  chapel  behind  the  pulpit:  PietS,  with  SS.  Jerome  and 
Dorothea,  by  Moreito.  High-altar:  Visitation,  by  Calisto  Piazza 
(1525).  —  Adjacent  is  the  Porta  Venezia  (PI.  E,  3),  near  which  is 
a  bronze  statue  of  Arnold  of  Brescia  (p.  219}  by  Odoardo  Tabacchi 
(1882).    Tramway,  see  p.  219. 

We  now  return  by  the  Via  Tosio  and  turning  to  the  left  by  the 
Via  deir  Arsenale,  reach  the  Piazza  Moretto,  with  a  bronze  Statue  of 
Moreito  (PI.  18;  D,  4),  byDom.  Ghidoni  (1898).  On  the  E.  side  of 
the  square  rises  the  Ateneo  Martinengo  (PI.  3 ;  D,  4),  the  property 
of  the  town.  On  the  groundfloor  are  some  sculptures  (including 
Ganymede  and  two  Reliefs,  Day  and  Night,  by  Thorvaldsen  and  a 
Bust  of  Eleonora  d'Este  by  Canova) ,  and  relics  of  the  rising  of 
1849,  Garibaldi's  travelling-carriage,  etc.,  and  on  the  first  floor  is 
an  important  *Picture  Gallery  (rearranged  in  1905),  especially  strong 
in  works  by  Moretto  and  Romanino.  Entrance,  Via  Martinengo  da 
Barco;  adm.  as  to  the  Museum  of  Antiquities  (p.  221).  Catalogue 
in  preparation ;  director,  L.  Cicogna. 

Room  I.  Giov.  Donato  Montorfano  {1) ,  St.  George  and  the  dragon; 
numerous  frescoes.  —  Room  II  (main  room).  Franc.  Francia,  Two  Madonnas  ; 
Oirol.  dai  lAbri,  Miniature;  Timoteo  Viti,  Angel's  head;  Raphael.,  "Ecce  Homo 
(painted  in  Florence,  still  under  Umbrlan  influence ;  1505) ;  School  of  Uaphael, 
Madonna;  Fra  Bartolomeo,  Holy  Family  (retouched);  Lor.  Lotto,  "Adoration 
of  the  Child;  O.  B.  Moroni,  Two  portraits;  Jac.  Tintoretto,  Portrait; 
Fr.  Albani.,  Venus  and  Graces.  By  Moretto:  Bearing  of  the  Cross  (colossal 
work);  Assumption;  'Madonna  in  clouds,  with  angels,  St.  Francis,  and 
donors  below  (1642) ;  Portrait ;  Annunciation  (early  work") ;  Christ  at  Emmaus  ; 
Adoration  of  the  Child;  SS.  Anthony  of  Padua  and  Nicholas;  *"  Madonna 
in  clouds,  with  SS.  Euphemia  and  Justina,  and  two  canonized  bishops 
below  (from  Santa  Eufemia);  *St.  Nicholas  presenting  school-children  to 
the  Madonna  (1539);  Descent  of  the  Holy  Ghost.  By  Romanino:  Adoration 
of  the  Shepherds;  "Christ  at  Emmaus  and  "The  Woman  taken  in  adultery 
(frescoes);  IJeaiing  of  the  Cross;  Group  of  saints  (damaged);  Entombment. 
—  Room  111.  Calisto  Piazza,  Adoration  of  the  Child  (fresco;  1524);  Cirerchio, 
St.  Nicholas  of  Tolentino;  Savoldo,  Adoration  of  the  Child;  So/onisba  An- 
guiiciola,  Portrait.  —  Room  IV.  At  the  exit.  Clouei,  surnamed  Janet,  Por- 
trait of  Henri  III.  of  France.  —  Room  V.  Modern  Italian  paintings  (19th 
cent.).  —  The  following  rooms  contain  valuable  drawings  and  engravings 
by  old  masters. 

Adjoining  the  Ateneo  Martinengo  is  Sant'  Afra  (PI.  D,  4),  an 
ancient  church  entirely  rebuilt  in  1580  by  Bagnadorc. 

HigU-altar-piece:  Tintoretto ,  Asccn.sion,  in  which  the  blue  of  the  sky 
is  the  predominant  colour.  Over  the  S.  door:  Titian  (or  Oivl.  Compi?), 
Christ  and  the  Woman  taken  in  adultery  (covered).  Over  the  second 
altar  on  the  N.  side  :   F.  Veronese,  Martyrdom  of  St.  Afra. 

The  church  of  Sant'  Alessandro  (PI.  7;  C,  4),  in  the  Via  Moretto. 
contains  (Ist  altar  to  the  right)  an  Annunciation  (covered)  by  Pao^orfa 
Brescia0^,  and  a  Pietk  by  Civerchio  (2nd  altar  to  the  right). 


Near  the  N.W.  angle  of  the  Piazza  del  Comuiie  (p.  220)  begins 
the  Corso  delle  Mercanzie,  which,  with  its  prolongation,  the  Corso 
Garibaldi,  leads  to  the  Porto  Milano  (p.  225).  At  the  end  of  the  first- 


224    Route  3S.  BRESCIA.  SS.  Nazzaro  e  Celso. 

named  street,  to  the  left,  is  the  Torre  della  Pallata  (PI.  21;  B,  2), 
a  mediaeval  tower  (100  ft.  high)  with  modern  pinnacles.  —  Near  a 
fountain  to  the  right,  in  the  Via  S.  Giovanni,  is  San  Giovanni  Evan- 
gelista  (PI.  B,  2),  with  admirable  pictures. 

We  begin  on  the  right.  Srd  Altar :  Moretto,  Massacre  of  the  Innocents, 
a  youthful  work  (copied  from  the  engraving  by  Marcantonio).  In  the  choir, 
behind  the  high-altar:  Moretto,  ".Tohn  the  Baptist,  Zacharias,  S8.  Augustine 
and  Agnes;  in  the  centre,  the  Madonna;  above,  God  the  Father  (unfor- 
tunately retouched).  —  In  the  next  chapel  (Corpus  Domini) :  Civerchio  (?), 
Entombment,  in  a  magnificent  Renaissance  frame  (1509);  in  the  lunette 
above,  Coronation  of  the  Virgin,  by  Romanino.  'Frescoes  on  the  right  by 
Morelto  (youthful  works  of  l52l ,  showing  the  influence  of  Romanino) : 
Collecting  the  manna,  Elijah,  and  Last  Supper  (lunette),  on  the  pilasters, 
St.  Mark  and  St.  Luke,  and  six  prophets  above.  Those  on  the  left  are  by 
Romanino:  Raising  of  Lazarus,  Mary  Magdalen  before  Christ,  and  the  Sacra- 
ment (lunette),  on  the  pilasters,  St.  John  and  St.  Matthew  (the  latter  dam- 
aged), and  six  prophets  above.  —  In  the  Battistero  (in  front,  to  the  left) : 
Francesco  Francia,  "The  Trinity  adored  by  saints,  one  of  the  artist's  finest 
works. 

We  next  proceed  by  the  short  Via  Borgondio,  to  the  N.E.,  to  visit 
Santa  Mabia  del  Cakmine  (PI.  B,  C,  2),  dating  from  the  15th  cent., 
with  a  Renaissance  portal  and  fine  brick  ornamentation  on  the 
facade.  The  lunette  contains  a  fresco  (Annunciation)  by  Ferramola. 
In  the  third  chapel  on  the  right,  Fathers  of  the  Church,  a  ceiling- 
painting  by  Vine.  Foppa. 

To  the  W.,  at  the  end  of  Via  San  Rocco,  is  the  church  of  Santa 
Maria  delle  Grazie  (PI.  A,  2),  which  dates  from  1522,  with  the 
exception  of  the  main  portal,  which  is  older. 

1st  altar  to  the  left ,  Madonna  in  clouds ,  with  four  saints  below,  by 
Foppa ;  over  the  high-altar,  a  Nativity  of  the  Virgin,  by  Moretlo ;  chapel  to 
the  right  of  the  choir,  Madonna  in  clouds,  below,  SS.  Sebastian,  Ambrose, 
and  Rocbus  by  Moretto.  —  The  church  is  adjoined  on  the  left  by  a  small 
early-Renaissance  court  and  a  modern  Romanesque  pilgrimage-chapel,  by 
Ant.  Tagliaferri. 

The  Corso  Carlo  Alberto  (the  fourth  side -street  in  the  Corso 
Garibaldi,  p.  223)  leads  to  the  S.  to  the  Palazzo  Fe  (18th  cent.)  and 
the  church  of  Santi  Nazzaro  e  Celso  (PL  13;  A,  3),  built  in  1780 
and  containing  several  good  pictures. 

°High-altar-piece  by  Titian ,  in  five  sections ,  the  Resurrection  being 
the  principal  subject;  on  the  right,  St.  Sebastian,  on  the  left,  St.  George 
with  the  portrait  of  Averoldo,  the  donor  (1522);  above  these,  the  Annun- 
ciation ('long  an  object  of  study  to  the  artists  of  the  Brescian  School': 
C.  (k  C).  —  Second  altar  on  the  left,  'Coronation  of  the  Virgin,  with  SS. 
Michael,  .Toseph,  Nicholas,  and  Francis  below,  by  Moretto  (covered;  'this 
altar-piece  is  the  very  best  of  its  kind,  cold  perhaps  in  silver-grey  surface, 
but  full  of  bright  harmcjny  and  colour':  C.  d:  C).  —  Third  altar  on  the 
right,  Christ  in  glory  (1541);  fourth  altar  on  the  left,  Nativity,  with  SS. 
Nazarius  and  Celsus,  also  by  Moretto^  sadly  damaged.  —  In  the  sacristy, 
above  the  side-door,  Predella  by  Moretto,  Adoration  of  the  Child,  Madonna 
and  angel  in  medallions.  On  the  organ-wing,  an  Annunciation  by  Foppa. 
Above  the  side-doors  of  the  main  portal  of  the  church  is  a  large  painting 
of  the  Martyrdom  of  Nazarius  and  Celsus,  ascribed  to  Fofpa. 

A  few  yards  to  the  E.,  in  the  Corso  Vittorio  Emanuele,  is  the 
small  church  of  the  Madonna  del  Miracoli  (PI.  5 ;  B,  3 ),  with  four 
domes  and  a  rich  facade,  an  early-Renaissance  building  (1488-1523) 


LA  GO  D'ISEO.  39.  Route.   225 

tliough  not  completed  until  the  17th  century.  —  A  little  to  the  N. 
is  San  Francesco  (PI.  B,  3;  adm.  10-4  by  the  side-entrance  to  the 
left  of  the  choir),  with  Gothic  facade ;  3rd  chapel  on  the  right,  Moretto, 
*SS.  Margaret,  Francis,  and  Jerome  (signed  1530);  over  the  higli- 
altar,  Bomanino^  **Madonna  and  saints,  a  masterpiece  of  hrilliant 
colouring  (about  1611 ;  in  an  older  frame,  1502). 

The  Caan  Fortunato,  an  elegant  little  palazzo  in  the  Venetian 
high-Renaissance  style  (16th  cent.),  should  be  noticed  in  the  Via 
Doizani  (PI.  B,  3 ;  No.  3,  on  the  right).  —  Nut  far  off,  38  Via  del 
Palazzo  Vecchio,  is  the  Palazzo  Fanli  (now  Baynoli)^  with  a  fine 
Renaissance  portal. 

Beside  the  Porta  ililano  (PI.  A,  2)  is  a  bronze  equestrian  statue  of 
Garibaldi.  About  1/2  M.  beyond  the  gate  lies  the  pretty  Cainpo  SaiUo,  to 
which  an  avenue  of  cypresses  leads  from  the  highroad.  Monument  to  the 
patriots  of  1849.    Fine  view  from  the  tower. 

A  picturesque  walk  may  be  taken  in  the  gardens  beneath  the  Castello 
(PI.  C,  D,  2).  The  view  (best  towards  evening)  extends  in  clear  vfeather 
to  Monte  Rosa  un  the  W.  The  ascent  to  the  castle  begins  at  the  Piazza 
Tito  Speri  (p.  221). 

Steam  Tramways  run  from  Brescia  via  Lograto  to  (20'/2  M.)  Soncino 
(p.  217);  via  (2IV2  M. ;  2  hrs.)  Medole ,  in  the  church  of  v^Uich  is  a  fine 
late  work  by  Titian  (Christ  appearing  to  the  Virgin),  and  (25'/2  M.)  Quidiz- 
zolo,  ou  the  battlefield  of  Solferino  (p.  218 ;  2'/4  hrs.),  to  (431/2  M.)  Mantua 
(p.  257;  4  hrs.);  to  the  Alpine  Valleys  described  in  the  next  route;  and  to 
Toscolano  on  the  Lago  di  Garda  (comp.  p.  234). 

39.  The  Brescian  Alps. 

1.   Lago  d'Iseo  and  Val  Camonica. 

Railways  from  Brescia.  1.  To  Jseo,  15  M.,  in  1  hr.  (fares  1st  cl.  1  fr., 
3rd  cl.  GO  c. ;  cuntinuation  to  Edolo  under  construction).  2.  To  Paratico 
on  the  Lago  d'Iseo,  23V2  M.,  in  13/4-2  hrs.  (fares  4  fr.  45,  3  fr.  10  c,  2  fr. ; 
carriages  changed  at  Palazzolo).  —  Steam  Tramways.  1.  From  Chiari  and 
llovalo  (p.  218)  to  Iieo,  12  M.,  in  IV4-II/2  hr.  (the  shortest  route  from  Milan; 
fares  1  ir.  40,  95  c.).  2.  From  Btrgamo  to  Sarnico  (comp.  p.  216).  3.  From 
Lov^jre  to  Cividate,  I3V2M.,  in  13/4-2  hrs.  (fares  1  fr.  35,  90  c.).  —  Steamek 
on  Lago  d'Iseo  between  Sarnieo  and  Lovere  thrice  daily  in  23/«-8  hrs.  and 
lietween  heo  and  Lovere  4  times  in  13/4-2  hrs. ;  Sunday  tickets  (p.  xvii)  are 
issued  between  April  and  Nov.  and  cheap  return  tickets  on  market  days 
(Tues.,  Frid.,  Sat.).  Marone  is  the  only  intermediate  station  touched  at  by 
all  the  boats.  —  Post  Omnibus  from  Pisogne  to  Edolo,  34  M.,  daily  in 
7  hrs.  and  from  Cividate-  Cumuno  to  Edolo,  21 V2  M.,  twice  daily  in  4V4-4V2  lira. 

Fkom  BfiESciA  TO  IsEO,  —  Brcscia,  seep.  219.  71/2  M.  Padsrno 
Franciacorta;  121/2  M.  Provaglio  d'Iseo;  15  M.  Iseo  (p.  226). 

Feom  Bbescia  to  Paeatico.  —  From  Brescia  to  (l8  M.) 
Palazzolo,  see  p.  217.  Our  line  here  diverges  to  the  N.E.  24  M. 
Paratico,  with  the  ruined  Castello  dei  Lantieri,  lies  on  the  left 
bank  of  the  Oglio,  which  here  issues  from  Lago  d'Iseo.  Immed- 
iately opposite  lies  Sarnico  (Cappello,  plain  but  good),  a  prettily 
situated  place,  connected  with  Paratico  by  a  bridge. 

The  *Lago  d'Iseo  {Lacua  Sebinus ;  610  ft.  above  the  sea ;  I51/2  M. 
long,  11/4-3  M.  broad,  and  about  820  ft.  deep  in  the  centre)  has 
an  area  of  24  square  miles.     Its  banks  are  green  with  luxuriant 

Bakdbker.   Italy  I.    I3th  Edit.  16 


226    Ro%Ue39.  LOVERE.  Breicim  Alps. 

vegetation.  In  the  middle  of  the  lake  lies  an  island  2  M.  long, 
containing  the  villages  oiSiriano  (trattoria)  and  Peschifra  Maraglio, 
a  pilgrimage-church  (Santuario  della  Madonna  della  Piirifi-aiione), 
and  a  ruined  castle  (Castello  dcgli  Oldofredi),  and  culminating  in 
the  Mont'  Isola  (1965  ft.).  —  On  the  E.  hank,  from  iseo  to  Pisogne 
(see  below;  beyond  Maroue  partly  through  tunnels),  runs  the  high- 
road from  Brescia,  commanding  magnificent  views. 

The  Steamer  from  Sarnico  usually  steers  first  to  Fredore,  the 
ancient  Praetorlum,  which  yields  excellent  wine;  then  to  the  S.E. 
back  to  Iseo  (//o(.  Leone  d'Oro,  K.  2,  B.  1,  pens.  8  fr.,  very  fair),  a 
busy  little  town  witii  walls  and  an  old  castle.  Its  industries  are 
dyeing  and  silk-spinning.  —  On  the  Capo  Corno,  near  Tavernola 
(W.  bank),  the  next  station,  is  the  Pojso  Glaciate,  a  largo  'glacier- 
mill'.  The  next  stations  are  Sivkino  (see  above),  Sulzano  (inn;  E. 
bank),  a.nd  Feschiera  (see  above;  Alb.  Democrazia). 

The  following  stations  on  the  E.  bank  are  Sale-Marasino  (Alb. 
della  Posta),  then  beyond  tlie  Loreto  Islet,  with  the  modern- Gothic 
Castello  Ricchieri,  A/arone  (Alb.  del  Monte  Guglielmo;  Cremona), 
at  theW.  base  of  Monte  Guglielmo  (p.  227),  and  Velio.  Opposite, 
on  the  W.  bank,  lies  Eioa  di  Sollo,  with  olive-woods. 

The  last  station  on  the  E.  bank  is  Fisogne  (Alb.  Tre  Stelle;  Alb. 
della  Posta),  with  iron  industries,  the  best  starting-point  for  an 
ascent  of  Mte.  Guglielmo.  The  Ghiesa  della  Neve  is  adorned  with 
frescoes  by  Komanino.  Finally  we  pass  the  mouth  of  the  Oylio  and 
approach  Lovere,  before  reaching  which  a  tine  view  is  obtained  to 
the  N,  in  clear  weather  of  the  snow-clad  AdameUo  Group,  with  the 
summit  of  the  Adamello  itself,  the  Plan  di  Neve,  and  the  Salarno 
and  Adame  glaciers. 

Lovere  C^'llut.  Lovere,  with  restaurant  and  garden,  K.  2-3, 
B.  11/4  fr. ;  Alb.  Sunt'  Antonio,  etc.;  Caffl  Nazionale),  is  a  busy 
little  place  with  3300  inhab.,  prettily  situated  at  the  N.W.  end  of 
the  lake.  It  is  the  seat  of  the  Miled  Silk-spinning  Factory  and  of  the 
Stalilimento  Metallurgico  Oregorini,  a  large  iron-work  and  cannon- 
foundry  on  the  road  to  Castro.  —  The  handsome  church  of  Santa 
Maria  in  Valvendea,  built  in  1473,  restored  in  1547,  1751,  and 
1888,  contains  frescoes  by  Floriano  Ferramola  and  Andrea  da  Ma- 
nerbio  (Cappella  dello  Sposalizio),  an  early  Milanese  altar-piece 
(in  the  same  chapel),  an  Annunciation  by  Ferramola  (on  the  out- 
side of  the  organ-shutters,  dated  1518),  SS.  Jovita  and  Faustinus  by 
Bomanino  (inside  of  the  shutters),  and  an  Ascension  by  Fr.  Morone 
(high-altar).  The  parish-church  of  iS^an  Giorgio,  erected  in  1655, 
was  enlarged  in  1878.  —  The  Palazzo  Tadini,  which  now  belongs 
to  the  town,  contains  zoological  and  industrial-art  collections,  a  few 
sculptures  (tomb-stone  by  C'a?ioua),  and  a  collection  of  old  pictures, 
which  was  rearranged  in  1902.    Adm.  at  any  hour;  gratuity  '/2  ^r. 

Jitc.  Bellini,  ■" Madonna  (restored;  modern  frame);  Dom.  Morone  (?J,  Ma- 
donna; P.  Bordone,  Madonn.i  enthroned  witli  SS.  Christopher  and  George 
(retoiiclied);  Parmigianino ,    'Portrait   (restored);   Vine.  Cicerchio ,  Midonna 


Brescian  Alps.  EDOLO.  3.9.  Route.    227 

enthroned  with  two  saints.  Baptism  of  Christ  (ir)'J!))-,  Jiomanino  (Calislo 
J'iar;aO,  Marri;ig«  of  St.  Ciitliarine. 

A  pleasant  excursion  (2  hrs.)  may  be  made  via  the  Convento  dei 
Cappuccini  to  the  Santuario  di  San  (fiovanni,  affording  a  flne  view. 

The  dolomite  rid'j;e  of  the  'Monte  Guglielmo  (0400  ft.)  may  bi;  ascended 
from  Marone  (p.  'J2ii)  viil  Cislano,  near  which  are  .some  interesting  earth- 
pyramids,  a,nd  Zone  (Alb.  Almici)  in  5'/2-0  hrs.,  or  frtim  Fisogne  (p.  226) 
in  U-7  hrs.;  just  below  the  summit  is  a  RiJ'uglo  (rfmts.).  The  superb 
view  embraces  the  lake,  the  Bergamasquc  Alps,  the  Adamello  group,  and 
the  mountains  of  the  Val  Trompia.  The  de.scent  may  be  made  via  Pezzoro 
to  (2-3  hrs.)  Lavoiie,  or  direct  to  (5-6  hrs.)  Oardone  Vallrompia  (p.  228). 

From  Lovere  to  Clusone  via  Soi'cfe  (light -railway  to  Trescore  and 
Bergamo,  see  p.  2lti)  and  through  the  ravine  (orrido)  of  Borlezza,  see  p.  215. 

The  Road  tkom  Loverb  to  Edolq  (light  railway  to  Cividate, 
see  p.  225)  leads  through  the  wide  Val  Camonica,  which  is  watered 
by  the  Oglio.  It  is  enclosed  by  lofty,  wooded  mountains,  is  well- 
cultivated,  and  contains  many  castles.  The  dark  rocks  (verrucano) 
contrast  curiously  with  the  light  triassic  formations. 

2'/2  M.  Voiphio,  with  large  gypsum-quarries.  —  Near  (7^/2  M.) 
Coma  our  road  joins  the  road  from  Pisogne  (diligence  see  p.  228). 
A  route,  diverging  to  the  left,  leads  hence  through  the  imposing 
gorge  of  the  Dezzo  to  Vilminore  and  Schilpario  (see  Baedeker's  Eastern 
Alps).  — ■  8  M.  Casino  Boario  (735  ft.;  *Gr.  Hot.  des  Thermes; 
Alb.  degll  Alpinisti,  R.  2-2'/-2,  1>-  3,  pens.  6-8  fr.). 

Near  (13i/o  M.)  Cividate,  where  the  light  railway  ends,  is  a  very 
picturesque  deserted  monastery  on  the  hill.  Farther  on  we  pass 
through  a  ravine  and  cross  the  Oglio  to  — 

16  M.  Breno (1115  ft. ;  Italia;  Trattoria  del  Fumo;  Gaffe  Leonardi^ 
with  rooms),  capital  of  the  lower  Val  Camonica,  with  a  ruined  castle. 
To  the  E.  rises  Monte  Frerone  (8770  ft.). 

Beyond  Breno,  to  the  right,  a  little  back  from  the  road,  lies  the 
village  of  Celo,  at  the  foot  of  the  PizzoBadile  (7990ft.).  —  Beyond 
(22V2  M.)  Capo  di  Ponte  (1185  ft.;  Alb.  Ceseretti ;  Alb.  Sant'  An- 
tonio, plain;  Osteria  ApoUonio)  the  scenery  becomes  sterner.  — 
26  M.  Cedegolo  (1395  ft.;  Alb.  all'  Adamello;  Alb.  della  Posta; 
Osteria  Sanguini,  well  spoken  of);  BO'/'i  M.  Malonno  (1770ft.). 

35'/o  M.  Edolo  (2330  ft.;  Leon  d'Oro,  well  spoken  of),  a  small 
and  picturesquely  situated  town  (1700  inhab.),  commanded  on  the 
E.  by  Monte  Aviolo  (9450  ft.). 

At  Edolo  the  road  divides.  The  branch  to  the  N.  crosses  the  Tonale 
Fuss  (6180  ft.)  to  ifaV-,  in  the  Val  di  Sole,  and  thence  to  San  Mieliele,  a 
station  on  the  Botzen  and  Verona  railway  (p.  2(i),  or  over  the  Mendel  Pass 
to  Botzen.  The  road  to  the  W.  crosses  the  Fasso  d'Aprica  (3875  ft.)  to 
Tresenda  in  the  Val  Tellina  (p.  181;  18  M. ;  diligence  twice  daily  in  4  hrs.). 
See  Baedeker^s  Eastern  Alps. 

2.  Val  Trompia. 

Stham  Tkamwav  from  Brescia  (starting  at  the  vail,  station)  to  (12  M.) 
Oardone  Vallrompia,  in  ca.  i'/'ihr.  (fares  1  fr.  20,  9i)  c).  —  Omnibus  from 
Gardoue  to  (13  M.,  in  S'/i  hrs.)  Collio.  —  JIotou-Cak  from  the  Hot.  Mella 
in  Brescia  to  Collio  in  ca.  I1/2  hr. 

16* 


228   Route  39.  VAL  SARBIA.  Brescian  Alps. 

The  Steam  Tramway  issues  from  the  Porta  Trento  (PI.  C,  1), 
the  N.  gate  of  Brescia,  and  then  runs  to  the  N.,  through  an  attrac- 
tive and  well-tilled  district,  to  the  Val  Trompia,  which  is  watered 
by  the  Melln. 

From  (12  M.)  Gardone  Vallrompia  (Alb.  Boretta,  well  spoken 
of)  the  attractive  Roai>  leads  past  several  iron-mines,  which  furnish 
the  metal  for  the  Brescian  weapon  factories,  and  past  Laiwne,  the 
starting-point  for  the  ascent  of  the  Monte  Ouylielmo  (p.  227). 

26  M.  Collio  (2755  ft. ;  *E6lel  Melln,  with  a  hydropathic,  R. 
from  4,  pens,  from  10  fr.,  open  June-Sept.;  Alb.  Tabladino),  the 
capital  of  the  Upper  Val  Trompia,  frequented  in  summer  for  its 
cool  climate. 

An  attractive  pass  leads  from  Collio  vii  the  CoUe  Maniva  (5475  ft.)  to 
(5Lr8.)  Bagolino  (p.  229).  The  Dosso  Alto  (6775  ft.;  1  hr.),  to  the  S.,  and 
the  Monte  ColomUne  (7315  ft. ;  2  hrs.),  to  the  N.W.,  may  be  ascended  from 
the  Colle  Maniva;  two  easy  and  attractive  expeditions. 

3.  Val  Sabbia  and  Lago  d'Idro. 

Eailway  from  (Bres>;ia)  Kezzato  via  Tormini  to  Voharno,  16  M.,  in 
ca.  I'/s  hr-  (fares  2  fr.  35,  1  fr.  30,  80  c).  The  stations  are  numerous  and 
the  trains  are  often  late.  Public  vehicles  for  Salb  (fare  50  c.)  are  usually 
to  be  found  at  Tormini.  —  Steam  Tramwat  from  Brescia,  starting  at  the 
rail,  station,  via  (18  M.)  Tormini  (carr.  changed),  whence  the  main  line 
(p.  230)  proceeds  to  Toscolano  on  the  Lago  di  Garda,  and  (21  M.)  Vobarno 
to  (301/2  M.)  Vestone  (4  trains  daily,  in  ca.  3V2  hrs.).  —  Highroad  from 
Brescia  to  (35'/2  M.)  Caffaro  via  I'reseglie,  Vestone,  and  An/o  (diligence  to 
Anfo  daily  in  8  hrs.). 

Beyond  Rezzato  (p.  218)  the  Railway  turns  to  the  N.E.,  near 
the  barren  S.W.  slopes  of  the  Brescian  Alps,  and  enters  the  lower 
Chiese  Valley,  which  is  watered  by  the  Naviglio  Grande,  a  canal  con- 
structed in  1288.  The  chief  stations  are  (10  M.)  Gavardo  (650  ft.), 
where  we  cross  the  Ohiese,  and  (121/9  M.)  Tormini  (see  below).  — 
16  M.  Vobarno  (805  ft.),  the  terminus  of  the  line,  is  situated  in  the 
upper  valley  of  the  Chiese,  which  above  Tormini  is  known  as  the 
Val  Sabbia.  The  valley  bends  sharply  at  Nozza  and  thence  extends, 
enclosed  by  lofty  mountains,  as  far  as  the  Adamello  group. 

The  Steam  Tramway  leaves  Brescia  by  the  Porta  Venezia  (PI. 
E,  3),  the  E.  city-gate,  and  skirts  the  bare  S.  slopes  of  the  Brescian 
Alps,  passing  many  attractive  villas  and  then  large  quarries.  The 
chief  stations  are  Rezzato  (p.  218),  Nuvolera,  Paitone,  and  Gavardo, 
villages  with  the  houses  lighted  by  electricity.  The  mountain- 
chapel  of  Paitone,  V4  ^'^^  above  the  village,  contains  a  celebrated 
Madonna  by  Moretto. 

18  M.  Tormini  (746  ft. ;  inn)  lies  at  the  foot  of  the  Selva  Piana 
(3170  ft.),  which  may  be  ascended  hence  in  21/4  hrs.  via  Prandaglio 
and  the  church  of  the  Madonna  delta  Neve  (2900  ft. ;  view). 

From  Tormini  to  Toscolano  via  Salo,  steam -tramway  in  l'/4  hr. 
(comp.  above).  The  line  follows  the  Desenzano  road  (p.  231)  to  the  S.E., 
and  then,  turning  sharply  to  the  N.  at  (2'/2  M.)  Cuneitone,  descends  to 
(6  M.)  Said  (p.  231),  affording  splendid  *Views  of  the  smiling  Bay  of  Salo, 
the  steep  bank  of  the  Riviera  (p.  232)  overhung  by  the  Mte.  Pizzocolo,  and 


Brescian  Alps.  LAGO  D'IDRO.  39.  Route.   229 

the  long  Mte.  Baldo,  on  the  E.  bank  of  the  Lago  di  Garda.  —  7  31.  Sald- 
Carmine,  at  the  E.  end  of  the  village.  We  follow  the  highroad,  skirting 
the  lake,  via  (&V2  M.)  Oardone  Riviera  (p.  232)  and  (11  M.)  Maderno  (p.  234) 
t.i  (I2V2  M.)  Toscolano  (p.  23d). 

21  M.  Vobarno  (p.  228).  —  26  M.  Sabbio.  The  castle  (Rocca) 
contains  old  Brescian  paintings  (14-15th  cent.).  —  At  (28  M.)  Barghe 
the  road  from  Brescia  through  the  Val  Qarza  enters  the  Val  Sahbia. 
—  30  M.  Nozza.  —  SO'/?  M.  Vestone  (1050  ft.;  Agnello;  Italia),  the 
capital  of  the  valley. 

The  Road  quits  the  Val  Sahhia  at  (3  M.)  Lavenont  (1260  ft.) 
and  then  skirts  the  W.  bank  of  the  Lago  d'Idro  (1207  ft.),  which  is 
6  M.  long  and  3/4-I1/4  M.  broad.  To  the  right,  at  the  S.E.  angle  of 
the  lake,  is  the  village  of  Idro.  —  3  M.  Anfo  (1280  ft. ;  diligence 
to  Brescia,  see  p.  228),  with  the  picturesque  keep  of  Rocca  d  Anfo, 
once  a  Venetian  frontier-fort,  and  modern  fortifications. 

41/.2  M.  Caffaro  (inn;  Italian  and  Austrian  custom-house),  1  M. 
to  the  N.  of  the  Lago  d'Idro,  on  the  vrild  torrent  of  Caffaro,  which 
here  forms  the  frontier. 

In  the  Val  Caffaro,  which  near  its  mouth  forms  an  impassable  gorge,  a 
road  leads  in  wide  cnrves  to  (3  M.)  Bagolino  (2395  ft. ;  Alb.  Ciappana,  very 
fair),  a  large  mountain- village  (4C00  inhab.)»  in  a  fine  situation.  —  From 
Bagolino  over  the  Colle  Maniva  to  the  Val  Trompia,  ace  p.  228. 

From  CafTaro  to  the  Lat;o  di  Ledro  and  to  Riva,  on  the  Lago  di  Garda, 
see  p.  237;  to  Conditio  and   Tioiie,  see  Baedeker^ s  Eastern  AljfS. 


40.  The  Lago  di  Garda. 

steamboats.  1.  W.  Bank  (the  more  picturesque;  inconvenient  railway- 
connections,  especially  with  Venice),  between  Oesenzano  and  Riva,  thrice 
daily  (four  times  to  Maderno)  in  4-5'/4  hrs.  (fares  4  fr.  45,  2  fr.  60  c).  Stations  : 
Sirmione,  Manerha,  San  Felice,  Salb,  Oardone- Riviera,  Maderno- Toscolano, 
Bogliaco,Oargnano,  Tignale,  Campione,  Tremosine,  Limone,  Riva.  The  morning 
steamer  from  Descnzano  also  touches  at  Malcesine,  the  midday-boat  from 
Riva  at  Torbole  and  Malcetine  (both  on  the  E.  bank).  The  express-steamer 
(once  daily)  calls  only  at  Sirmione,  Said,  Oardone- Riviera,  Maderno-Toscolano , 
and  Gargnano.  —  2.  E.  Bank,  between  Riva  and  Peschiera.  daily  (to  Bla- 
denio  twice)  in  474  brs.  (fares  4  fr.  60,  2  fr.  60  c).  Stations  :  Torbole, 
Malcesine,  Assema,  Magugnano,  Castelletio,  Gargnano,  Maderno  (these  two 
on  the  W.  bank),  Torri,  Garda,  Bardolino,  Lazise,  Peschiera.  In  spring 
theri^  are  also  excursion-trips  four  timos  weekly  from  Oardone  to  San 
Vi<;ilio,  Garda,  and  Bardolino,  ami  excursion-trips  to  both  banks  are  made 
nn  Sun.  in  summer;  day-ticket  2  or  11/2  fr.,  season-tickel  7  or  4V2  fr.  — 
In  the  following  description  the  station.?  at  which  there  is  a  pier  are 
indicated  by  'P',  the  small-boat  stations  by  'B'.  —  The  steamers  (restau- 
rant on  board)  are  on  the  whole  inferior  to  those  on  the  Lago  di  Como 
and  Lago  Maggiore.  Sea-sickness  is  not  unknown  in  rou<?h  weather,  and 
storms  or  fog  sometimes  suspend  or  interrupt  the  service.  —  Luggage 
undergoes  a  custom-house  examination  at  Riva. 

Railway  from  Desenzano  and  Peschiera  to  Verona  and  Brescia  (Milan), 
see  R.  37;  from  Garda  to  Domcglinra  and  Verona  p.  23li;  from  Riva  to 
Arco  and  Mori,  p.  22.  —  The  following  Circdlar  Tour  Tickets  may  be 
procured  (comp.  p.  xvii):  Ziesen^ano-Peschiera-Riva-Salo-ZJeienzono  ('H'; 
valid  for  5  days;  fares  9  fr.  25,  8  fr.  70,  5  fr.  10  c);  A/^i7an-Desenzano-Riva- 
Mori-Ve^ona-ifi/a7^  (T;  15  days;  fares  38  fr.  95,  29  fr.  55  c);  VentM-Verona- 
Desenzano-Riva-Mori- Verona-  rmic«  ('K' ;  15  days ;  fares  40  fr.  10,  30  fr.  35c.). 


230    Route  40.    ■  DESENZANO.  Lago  di  Garda. 

Steam  Tram-way  from  Brescia  via  (18  M.)  Tormini,  (24  M.)  Said  (p.  231), 
(281/2  ai.)  Gardone- Riviera  (p.  232),  .-iiid  (29  M.)  Maderno  (p.  234)  to  (30V2  M.) 
Toscolano  (p.  234),  four  trains  daily  in  ca.  3^/i  brs.  (1st  class  fare  2  fr.  60  c.) ; 
comp.  p.  228.  Numerous  wayside  stations  are  stopped  at,  and  punctuality 
is  by  no  means  assured. 

Highroad  from  Malcesine  via  (18  M.)  Garda  and  (29  M.)  Peschiera  to 
(36  M.)  Sirmione,  or  to  (ST'/z ''•)  Desmzano;  from  Desenzano  via  (I2V2  M.) 
Salb  to  (22'/2  M.)  Qargnano.     These   routes   are   recommended   to  cyclists. 

The  *Lago  di  Garda  (210  ft.),  the  Lacus  Bendcus  of  the  Ro- 
mans, the  largest  of  the  N.  Italian  lakes,  is  34  M.  in  length,  and 
3-11  M.  hroad;  area  189  sq.  M.,  greatest  depth  1135  ft.  The  chief 
feeder  is  the  Sarca,  and  it  discharges  itself  to  the  S.  by  the  Mincio. 
The  narrow  N.  portion  of  the  lake,  not  unlike  a  Norwegian  fjord, 
occupies  an  ancient  valley  between  lofty  mountains.  The  banks  of  the 
S.  portion,  which  is  very  shallow,  especially  between  Garda,  Pes- 
chiera, and  Sirmione,  gradually  slope  down  to  the  extensive  moraine- 
circuses  left  by  the  ancient  Garda  glacier  (comp.  p.  218).  —  The 
E.  bank  is  separated  from  the  valley  of  the  Adige  by  the  Monte 
Baldo  (p.  238),  a  range  about  25  M.  in  length,  terminating  to  the 
S.W.  in  the  cape  of  San  Vigilio  (p.  235).  The  precipitous  cliffs  of 
the  W.  bank  are  formed  by  spurs  of  the  Giudicarian  Alps.  The 
most  sheltered  parts  of  the  lake  are  the  lovely  coast-strip  known  as 
the  Riviera,  especially  between  Fasano  and  Salo,  and  the  calm  bay 
of  Ganla.  The  lake  belongs  to  Italy,  except  the  N.  extremity  with 
Riva,  which  is  Austrian.  It  is  seldom  perfectly  calm,  and  in  line 
weather  is  often  considerably  agitated  about  midday  by  a  local  wind 
from  the  S.  {Ora;  cold  in  winter).  In  a  storm  from  the  N.  the  lake 
is  sometimes  almost  as  rough  as  the  sea,  as  recorded  by  Virgil 
(Georg.  ii.  160:  'fluctibus  et  fremitu  adsTirgens  Benace  marine'). 
The  water  is  generally  of  an  azure  blue. 

The  Vegetation  is  very  luxuriant,  especially  on  the  more  sheltered 
stretches  of  the  coast.  Even  the  sensitive  lemon  (Umone)  arrives  at  maturity 
on  the  Kiviera  and  near  Limone,  but  in  winter  the  trees  require  to  be 
carefully  enclosed  by  wooden  shelters  (serre).  This  is  done  with  the  aid 
of  numerous  white  brick  pillars,  which  gleam  picturesquely  amid  the  soft 
green  foliage.  In  consequence  of  the  disease  known  as  'gumming''  the 
annual  yield  of  lemons  has  fallen  from  16-18  millions  (1862)  to  barely 
3  millions.  Citrous  (citrus  medica)  also  are  extensively  cultivated  on  the 
Iviviera.  Caper-shrubs  (capparis  spinosa)  flourish  in  the  chinks  of  old  walls, 
and  on  the  hill -slopes  grow  sloes  (agare  Americana)  and,  less  abundantly, 
Indian  figs  (cactus  opiiniia).  The  tall  laurel  trees  (Umrvs  nohilis),  which 
shade  most  of  the  roarls,  are  char.acteristic  of  the  Riviera.  Groves  of  olives, 
as  in  the  Sarca  valley,  stretch  up  the  hill-slopes  to  a  height  of  985  ft.; 
but  the  trees  suffer  a  good  deal  from  'scale'  (fungus),  which  renders  it 
necessary  to  hollow  out  the  trunks  artificially. 

The  iroia,  or  trout,  which  attains  25  lbs.,  the  carpione^  or  salmon-trout, 
the  angvilla,  or  eel,  and  the  liiccio,  or  pike,  are  excellent  fish.  The  sardine- 
lishing  is  inleres'ing  to  fee. 

Deseuzano  SUl  Lago  (P).   —    Bail.  Jiestaurant.   —   Hotels.      -HoT.- 

Pension  Splendioe,  K.  2-3,  B.  1,  dei.  3,  D.  31/2,  pens,  from  7  f r. ;  Hot. 
EoTAL  Mater,  E.  2-5,  B.  11/4,  dej.  3-81/2,  D.  4,  omn.  1/2-^4  fr.,  with  a  small 
garden,  very  fair;  Due  Colombe,  with  small  garden  and  terrace  on  the  hike, 
B.  2-3 fr. ;  Alb.  Tiiento;  Hot.  I>ido,  at  the  pier,  with  bathing  establishment. 
—  Birrcria  GrctziolU.  —   Obinieus   or  One-iiokse  Cab   from  the  pier  to  the 


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Lago  di  Garda.  SIRMIONE,  40.  Route.    231 

railway- station  (branch  line  under  ccnstructiou)  60  c.  per  pers. ;  each  larte 
piece  of  luggage  26  c.  One-hojsa  carriage  to  Sirminne  or  San  Martino 
(p.  21S)  4,  Salo  and  Garde  ne-Eiviera,  8-9  fr.  The  drivers  usually  try  to 
overcharge.  —  Boat  to  Sirmitne  with  one  rower  5,  with  .two  8  fr. 

Descnzano,  a  busy  town  with  4300  inhab.,  visited  only  by  pass- 
ing tcairists,  lies  at  the  S.W.  angle  of  the  lake,  and  is  a  station  on  the 
railway  from  Milan  to  Verona  fp.  218).  Fine  view  from  the  Break- 
irater.    Large  market  on  Tuesdays. 

West  Baxk  from  Desenzano  to  Riva.  The  steamers  call  first  at 
Sirmione  (P;  Hot.  Regie  Terme,  near  the  castle,  at  the  S.  end  of  the 
village,  pens.  7-8  fr.,  also  a  bathing-establishment,  bath  IVi"^  fr. ; 
Hot.  Sirmione,  pens.  6-7  fr.,  in61.  wine,  near  the  pier,  with  small 
garden  on  the  lake;  Atbergo  CatuHo,  Italian,  very  fair;  Hot.  d'ltalie; 
Pens.  Scaligeri),  a  fishing-village  near  the  N.  end  of  the  narrow 
promontory  of  the  same  name,  projecting  21/2  ^-  into  the  lake,  about 
31/2  ^'  to  ^^^  ^-  ^^  Desenzano,  and  not  quite  half-way  to  Peschiera 
(p.  218).  One-horse  carr.  from  vSirmione  to  Peschiera,  1  pers.  3  fr., 
each  addit.  pers.  1  fr.  —  Sirmione  (no  mosquitoes)  is  a  favourite 
German  resort  in  spring  and  autumn  and  is  visited  by  many  Italians 
in  summer  for  the  sake  of  its  sulphur-baths. 

The  village  adjoins  the  handsome  ruin  of  a  Castle  of  the  Scaligcrs 
(p.  245;  viev?  from  the  tower;  fee).  From  the  N.  en<l  of  the  village  a 
pretty  footpath  leads  to  the  right,  parsing  the  olive-clad  height  (315  ft.),  on 
which  stands  tlie  little  church  o(  San  Pidro,  and  ah  ng  the  K.  shore,  of  the 
penin?ula  to  (V4  hr.)  itsN.  extremity,  where  we  obtain  a  charming  'View 
(best  in  the  evening)  of  the  lake.  Here  are  the  so-called  Giotle  di  Cotvllo, 
the  considerable  relics  of  a  Roman  building  (4th  cent.'t)  extending  into 
the  lake,  said  to  have  been  the  country-house  of  Catullus,  who  wrote  his 
poems  here  ('peninsularara ,  Sirniio ,  insularumque  ocelle').  Tennyson 
celebrates  'olive- silvery'  Sirmio  and  its  connection  with  Catullus  in  one 
of  the  most  musical  of  his  short  poems.  —  The  Boiolci,  a  warm  sulphur- 
spring  (140°)  rifing  in  the  lake  nit  far  to  iheE.,  has  been  utilized  in  the 
new  bath-establishment  since  18'j7  by  means  of  a  pipe  985  yds.  long. 

For  the  excursion  to  San  Marlino  (onln.  1  fr.)  comp.  p.  21S. 

From  Sirmione  the  steamboat  steers  past  the  abrupt  Cape  Ma- 
nerba  (716  ft.),  and  sometimes  touches  at  the  villages  of  Manerba 
(B)  and  San  Ftlice  di  Scovolo  (B).  It  then  threads  the  rocky  channel 
between  the  Valtenese  (p.  232)  and  the  beautiful  crescent-shaped 
Isola  di  Oarda,  with  a  modern  Gothic  chateau  belonging  to  the 
Duchess  Deferrari  (visitors  admitted  to  the  island  from  Feb.  to  April 
on  Sun.,  9-4),  steers  to  the  W.,  and  enters  the  bay  of  — 

Salo  (P).  —  Hotels.  Guand  Hotki,  Sai.o,  in  an  open  situation  bcfide 
the  lake,  near  the  steam-tramway  station  Sal6-Carmine  (p.  ^29),  with  lift, 
stoam-heating,  railway-ticket  office,  motor-hoat,  and  beautiful  garden, 
n.  3V2-4,  B.  11/2,  D.  31/24,  S.  2V2-3V2,  r^ns-  from  8  fr.,  closed  June-^ug. ; 
IbiT. -Ptss.  DAiiEtM,  (in  the  Gardone  road,  with  roftaiirant  and  garden, 
1;.  from  3,  B.  1,  D.  3-3V2,  rens.  from  V/2  fr. ;  HCt.  Vittokia,  U.  from  2  fr., 
vory  fair;  Alb.  Bavif.ka,  unpretending,  these  two  by  the  pier,  with  restau- 
rants, German.  —  Pension  Villa  BeUina;  Pens.  Villa  Ilalkyone  (formerly  the 
residtnce  nf  O.  E.  Harllehen);  Pens.  Villa  Garda.  —  Cafe -Restaurant. 
liisloranU  Borra,  PJa/.zaVilt.  Emanuele. 

Mosey  Chancers:  Uanca  Popolare;  Castagna. 

Steam  Tbamwav  (Z?;Yicia -Tormini-Sab")-<^ardone-J/n'<i!ecno),  see  p.  2-10. 


232    Route  it).  SALO.  Layo  di  Oarda. 

Salb,  a  town  with  5000  inliab.  and  manufactories  of  ilcgua  dj 
Cedro  (liqueur),  is  charmingly  situated  on  the  "W.  shore  of  the  bay 
that  opens  at  Gardone.  Since  1377  it  has  been  the  capital  of  the 
Magnifica  Patria  della  Riviera,  which  was  acquired  by  Venice  in  1426. 
Gaiiparo  Bertololtl  (Oasp.  de  Sail) ;  1642-1G09),  inventor  of  the 
modem  form  of  violin  and  precursor  of  the  great  violin-makers  of 
Cremona,  v^as  born  at  Salo. 

From  the  Porta  Carmine,  the  E.  town  gate,  the  Lungolago,  a 
promenade  laid  out  since  the  earthquake  of  1901  and  damaged 
by  a  landslip  in  1905,  leads  to  the  long  Piazza  Vittorio  Emanuele, 
on  the  W.  Halfway  is  the  Gothic  Parish  Church,  with  a  Renaissance 
portal  by  Jac.  Sansoviuo,  containing  several  pictures  of  the  Brescian 
and  Veronese  Schools :  on  the  pillar  to  the  right  of  the  high-altar. 
Adoration  of  the  Child,  byTorbido;  in  the  apse,  Assumption,  a  fresco 
by  Palma  Giovane.  In  the  modest  church  of  San  Bernardino,  beyond 
the  Piazza  Vittor.  Eman.,  is  an  altar-piece  by  Romanino  (1529;  San 
Bonaventura  with  a  donor  and  angels),  by  the  2nd  altar  on  the  left. 

A  fine  view  (best  by  evening-light)  is  obtained  from  the  W.  summit  of 
the  Monte  San  Bartolomeo  (1865  ft.),  which  is  ascended  in  11/2  hr.  from  the 
steam  -  tramway  station  Salo -Carmine  (descent  to  Gardone  IV4  hr.)-  —  A 
Highroad  (one-horse  carr.  7  fr.)  leads  to  (5  M  )  Desenzano  (p.  230)  throngh 
the  Valtenete,  the  undulating  wine-growing  district  between  the  valley  of 
the  Ohiese  (p.  228)  and  Cape  Manerba. 

We  here  reach  the  Riviera  (p.  230),  10  M.  long,  with  numerous 
villages  and  country-houses.  In  the  evening  it  sparkles  with  electric 
lights  all  the  way  from  Salo  to  Toscolano. 

Gardone  Riviera,  —  Piers  at  Oardone  di  Sotto  and  Fasano  (see  below). 

Hotels  &  Pensions  (generally  overcrowded  from  Feb.  to  April).  1.  In 
Gardone  di  Sotto,  near  the  main  pier  (Piazza  Wimmer) :  *Grand  Hotel, 
with  lift,  steam-heating,  ticket-office,  cafe-restaurant,  gardens,  and  lake- 
baths,  R.  2V2-8,  B.  11/2,  D.  4-5,  S.  21/2-31/2,  pens.  8-15  fr.  (closed  from  mid- 
May  to  mid -Sept.);  'Gk.-Hot.  Savoy,  2  luin.  from  the  pier,  with  lift, 
steam-heating,  cafe-restaurant,  and  garden,  Pi.  3-5,  B.  II/4,  D.  4,  S.  21/2, 
pens.  8-12  fr.  (closed  June  15th-Sept.  1st);  *Hut.  Koma,  adove  the  pier, 
with  small  garden,  R.  from  3,  B.  I72,  D-  4-5,  S.  3-31/2,  pens,  from  Bfr.  (closed 
June  Ist-Sept.  15th);  —  Hot. -Pens.  Monte  Baldo,  with  garden,  R.  from  2, 
B.  11/4,  !>•  3'/2-4,  pens.  71/2  9  fr.,  well  spoken  of;  IIot.-Pens.  Seehof,  R.  2-3, 
B.  1,  D.  31/2,  pens,  from  7  fr. ;  Hot.  Benaco,  in  the  village,  with  cafe- 
restaurant,  pens.  6-7  fr. ;  Hot.-Restadrant  Goldener  Fisch,  near  the  pier, 
plain,  these  two  for  passing  tourists;  Pens.  Hohl,  on  the  l;ike,  pens,  from 
71/2  fr. ;  Pens.  Eden-Riviera,  from  61/2  fr. ;  Pens.  Villa  National,  these  two 
aliove  the  Grand  Hotel;  Pen3.  Bellevde-Frank,  Damenheim  Villa  Makia, 
these  two  near  the  Kurgarten,  in  a  high  sitiAtion.  —  2.  In  Barharano,  to 
the  S.W.  of  Gardone  di  Sotto,  8-12  min.  from  the  pier  :  Pens.  Villa  Sonnen- 
bhrg,  with  a  pretty  garden,  from  10  fr. ;  Pens.  Villa  Goldsteand,  7-10  fr. ; 
Pens.  Aoroka,  from  7  fr.  —  3.  In  Fasano,  ^/t-V/i  M.  to  the  N.E.  of  Gardone 
di  Sotto:  *HoT.  Fasano,  with  restaurant,  view-terrace,  and  lake-baths, 
R.  2-6,  board  6  fr. ;  Hot.  Rosenhof,  R.  from  21/2,  pens,  from  71/2  fr. ;  Hot. 
Bellevue  au  Lac,  R.  21/2-51/2,  pens.  71/2-12  fr.,  these  three  on  the  lake, 
S-10  min.  from  the  quay  of  Fasano,  with  gardens;  *H6t.  Bellariva,  by 
the  pier,  R.  2-3,  B.  1,  D.  3  4,  S.  2,  pens.  61/2-IO  fr. ;  Pens.  Qdisis.ana,  above 
the  road,  pens.  7-12  fr. 

Sanatorium.  Villa  Primavera  (Dr.  Kiiniger),  In  Gardone  di  Sopra,  1/2  M. 
above  the  quay,  with  a  beautiful  garden,  pens.  IO-I21/2  fr.  —  Apartments 
at  Villa  Haberlin,  above  the  Grand  Hotel. 


Layo  <ii  Garda.         GARDONE-KIVIERA.  40.  Route.   233 

Cafe  in  the  Kur-Garten,  between  Gardone  di  Sotlo  and  Fasano. 

Post  &  Telegraph  Office,  at  the  Grand  Hotel,  open  daily,  8  a.m.  to 
9  p.m.  (May-Oct.  only  8-12,  2-7,  and  8-9). 

Physicians:  Dr.  Kijniger ;  Dr.  RoMen  (in  Fasano);  Dr.Krez;  Dr.Boral; 
Dr.  Ocfisler;  Dr.  Frenkel  (lady -doctor).  —  Dentist.  Hruscka.  —  Chemist: 
Pernici,  Piazza  Wimmer.  —  Visitors'  Tax,  10  fr.  per  season. 

Money  Changers  and  Goods  Agents.  Schneider  d-  Severgnini,  Olsner  (with 
ticket-offices  and  shops  also),  both  in  the  Piaz/a  Wimmer. 

Cabs.  Per  hour,  with  one  horse,  1-2  pers.  2V2,  3  pers.  3  fr. ;  to  the  Tos- 
colano  Ravine  and  Gargiiano  and  back  8  &  10,  with  two  horse.s  14  fr.;  to 
Torraini  5,  6,  &  9  fr. ;  to  Cunettone,  6,  7,  &  10  fr. ;  to  San  Pietro  7,  8,  &  14  fr. ; 
to  Cape  Manerba  7,  9,  &  14  fr. ;  to  De,senzano  9,  12,  &  18  fr. ;  to  Gaino  with 
one  horse  (2  pers.)  9,  with  two  horses  15  fr. ;  to  Solferino,  San  Marlino,  and 
Sirmione  17  &  32  fr.  —  Steam  Tramway  to  Brescia  and  to  Toscolano,  see 
p.  230. 

Boats.  Per  hour  with  one  rower  I'/z,  with  two  21/2  fr. ;  to  Salo  and 
back  2'/2  &  5  fr.;  to  the  Isola  di  Garda  or  to  Maderno  3  &  5,  to  Cape 
Manerba  (two  rowers)  7,  to  the  promontory  of  San  Vigilio  (2  rowers)  10, 
to  Garda  (2  rowers)  12  fr. 

Climate.  Gardone ,  with  a  mean  winter  temperature  of  89°  Fahr. 
minimum  17.6°)  is,  with  the  exception  of  Arco,  the  warmest  winter  health- 
station  to  the  N.  of  the  Apennines.  It  is  excellently  sheltered  from  the 
prevalent  winter  winds  (N.  and  N.W.)  by  the  chain  of  hills  rising  from 
the  Mte.  San  Bartolomeo  to  the  Mte.  Pizzocolo  (p.  234)  and  interrupted  only 
by  the  Barharano  Ravine.  A  like  service  is  rendered  by  the  Mte.  Baldo 
against  the  E.  and  N.E.  winds.  The  S.  and  S.E.  winds  have  free  access, 
but  the  Ora  (p.  230)  is  not  felt  here  and  83  per  cent  of  the  days  of  the 
year  are  free  from  wind.  The  greatest  rainfall  takes  place  in  Oct.  and 
Nov.,  while  the  three  winter  months  have  usually  little  rain,  abundance 
of  sunshine,  and  a  low  range  of  temperature  (mean  daily  range  in  Dec. 
9°  Fahr.,  in  Jan.  9.5°,  in  Feb.  11.7°).  Snow  seldom  lies  long  on  the  ground. 
The  relative  humidity  (75  per  cent)  varies  little  and  is  about  the  same  as 
that  of  Montreux. 

Oardone-Riviera,  consisting  of  eight  villages  (^Oardone  di  Sotto, 
Gardone  diSopra,  Fasano,  etc.),  has  become  since  1885  a  favourite 
winter-resort  for  consumptive  and  nervous  invalids,  while  in  the 
spring  and  autumn  it  is  frequented  by  those  in  search  of  rest  and 
refreshment.  The  visitors  are  chiefly  Germans.  The  hills  afford  a 
multitude  of  varied  walks,  all  free  from  dust  and  well  provided 
■with  benches  and  way-marks.  The  vegetation  is  of  a  thoroughly 
southern  character  (comp.  p.  230);  camellias,  magnolias,  aloes,  and 
palms  grow  in  the  gardens  unprotected. 

ExcDRSiONS.    To  Morgnaga,  returning  by  the  Barlarano  Ravine,  l'/2  hr. 

—  To  Gardone  di  Sopra  (425  ft.),  with  a  fine  view  beyond  the  church  and 
tUe  becutifu!  garden.s  cf  the  Villa  Cargnacco ;  from  the  latter  we  may 
proceed  to  the  left  by  the  'laurel  walk'  to  Fasano  di  Sopra  (5'J5  ft.)  and 
descend  through  the  Bornico  Rnnne  to  Fasano  di  Sotlo  (1  hr.).  —  To  Sun 
itichele  (I32o  ft.),  a  high-lying  church,  aflording  a  line  view  of  the  lake 
and  of  the  Val  di  Sur,  IV4  br. ;  we  may  return  along  the  slope  of  Monte 
Lavino  fsee  below)  by  the  'high  walk'  via  Sopinne  (920  ft.)  and  Oardone  di 
Sopra  (I'/zhr.).  —  Via.  Maderno  (p.  234)  to  the  romantic  "Toscolano  Ravine, 
in  the  Valle  delle  Camerate,  with  its  silk -weaving  factories,  paper-mills 
(cartiere),  and  electricity  works,  returning  via  Oatno,  the  church  of  which 
(870  ft.)  commands  a  fine  view,  3V2-4  hr,^.  —  From  the  steam -tramway 
.stations  of  Zfttle  or  Cunettone  (p.  22-))  to  Monte  Santa  Catarina  (6G0fl.),  San 
Felice  (p.  231),  Cisano,  etc.  —  From  Tormini  (p.  228)  to  San  Pietro,  the  church 
of  which   affords   a  tine  view,   ret\irning  via  Gazzane  and  Remano  to  Salh. 

—  By  boat  (I1/2  hr.)  to  the  promontory  oi  Manerba  (view  of  the  whole  lake). 

—  By  steam-tramway  (p.  228)  to  Tormini  (p.  228)  and  Lago  d'Jdro  (p.  229). 


234   Route  40.  GARGNANO.  Lago  di  Qarda. 

Ascents.  Monte  San  Barlolomeo ,  2  hrs.,  see  p.  23'2.  —  Mte.  Roceolo 
(16C0  ft. ;  11/2  hr.),  via  Sopiane  (p.  233).  —  Monle  Lavino  (2975  ft,;  21/2-3 hrs.). 

—  From  Tormini  to  the  Madonna  delle  Nere  and  the  Selva  Piann,  see  p.  22?. 

—  Monle  Pizzocolo  (5195  ft. ;  5-6  hrs.,  with  guide),   commanding  an  exten- 
sive view. 

We  next  pass  Fasano  (P;  hotels,  see  p.  232),  20  min.  to  the 
N.E.  of  Gardone  di  Sotto,  and  the  beautifully  situated  Villa 
Zanardelli.  —  Maderno  (P ;  Hot.-Pens.  Lignet,  pens.  6-7  fr. ;  Hot. 
San  Marco,  R.  i-^/o-'^i  peTis.  5'/2-6  fr.,  both  good;  Pens.  Villa  della 
Rose;  Cafjfe  Maderno;  physician,  Dr.  Rcsenbawn)  lies  at  the  base  of 
Mte.  Pizzocolo  (see  above),  on  the  delta  of  the  little  Toscolano.  Until 
1377  it  was  the  capital  of  the  Riviera.  The  Campanile  behind  the 
parish -ohurch  is  the  relic  of  a  castle  destroyed  by  the  French  in 
1797.  The  old  church  of  SanV  Andrea  has  a  Romanesque  facade 
(12th  cent."),  but  has  been  rebuilt  since  1580.  Fine  lake-promenade. 
Steamer  to  Pe-chiera,  see  p.  229. 

Maderno  is  the  station  also  for  Toscolano  (Cavallo  Bianco;  steam- 
tramway  to  Brescia,  p.  230).  —  The  next  station,  Bogliaco  (P;  Gr. 
Hot.  Bogliaco,  with  steam-heating  and  parlc,  pens,  from  8  fr.,  new), 
with  a  large  chateau  of  Count  Bettoni  of  Brescia,  is  not  always 
called  at.  —  Gargnano  (P;  Hot.  Qargnano,  R.  2-3,  pens.  6-8  fr. ; 
Cervo,  II.  2-3,  B.  1,  pens.  7-8  fr.,  both  near  the  quay,  plain  but  good), 
aTi  important-looking  village  (1200  inhab. )  amidst  lemon  and  olive 
plantations,  marks  the  N.  limit  of  the  Riviera.  The  former  Francis- 
can Monaster!/  (IStli  cent.)  possesses  fine  Gothic  cloisters. 

The  mountains  now  become  loftier,  recalling  the  scenery  of  the 
Norwegian  fjords.  Tignale  (B)  is  the  station  for  Piovere,  Gardola, 
and  other  mountain-villages  not  visible  from  the  lake,  which  are 
reached  also  by  a  mule-track  from  Gargnano.  The  steamer  then 
steers  past  the  conspicuous  Monte  Castello  (2565  ft.),  with  a  view 
of  Monte  Brione  (p.  238)  to  the  N.,  and  reaches  Cam-pione  (P),  which 
lies  upon  a  narrow  strip  of  level  ground  at  the  mouth  of  a  brook. 
The  large  cotton- spinneryfC'otoJn'/zzio  Feltrinelli)  and  the  Fish  Breed- 
ing Establislnnent  (pisclcultura)  may  be  mentiont'd. 

A  plea=ant  excursion  may  be  made  hence  to  (2  hrs.)  the  Madonna  di 
Monte  Castello  (2265  ft.),  on  the  S.  slope  of  the  mountain.  Thence  we  may 
descend  via  Qardola  (see  above)  to  Tignale,  or  via  Piovere  to  Gargnano. 

The  quaint  village  of  Tremosine  (1355  ft.),  situated  high  above 
the  lake,  is  reached  by  a  zigzag-path  from  the  small-boat  station. 

In  a  bay  farther  on  are  the  white  houses  of  Limone  sul  Oarda 
(P;  Alb.  del  Gallo ;  Ristorante  Belvedere),  another  lemon  and  olive 
producing  village.  A  few  small  'torpedo-boats'  (torpedinicre)  are 
stationed  here  to  prevent  smuggling;  the  entire  N.  end  of  the  lake 
is  illumined  at  night  by  their  search-lights. 

To  theN.  of  Limone  we  cross  the  Austrian  frontier  and  soon  after 
pass  the  gorge  of  the  Val  di  Ledro  (below,  the  Ponale  Fall) ;  high 
above  the  lake  is  the  Ponale  Road(^.  238),  running  along  the  vertical 
face  of  the  cliff. 

Kiva,  see  p.  237. 


Layo  di  Garda.  MALCESINE.  40.  Route.   235 

E.  Bank  from  Riva  to  Peschibea.  The  first  station  is  Torbole 
(P;  '"Hot.  Garda-See,  -with  view-terrace,  German,  pens.  6-7  A'.;  Gr. 
Hot,  Torbole^  on  the  Riva  road,  opened  1906;  Alb.  al(  Aurora^  good 
wine;  Alb.  del  Giardino;  motor-lioat  and  omnibus  to  Riva  see  p.  237; 
boat  to  the  Ponale  Falls  4  TT,),  prettily  situated  2  M.  to  the  S.E.  of 
Riva  on  the  road  to  Nago  (p.  22).  At  the  S.  end  of  the  village  arc  a 
narrow  lake-promenade  [views)  and  a  ftsh-brecding  establishment. 
—  The  vessel  skirts  the  base  of  the  precipitous  Monte  Baldo  (p.  238) 
and  reaches  — 

Malcesine  (P;  Alb.  d' Italia,  pens.  5fr. ;  Hot.  Malcesine,  new), 
with  a  picturesque  old  castle  (13th  cent.)  of  the  Scaligers,  recently 
repaired  (view  from  the  tower;  fee).  Goethe,  when  sketching  here 
in  1786,  was  threatened  with  arrest  by  the  Venetian  officials  (see 
his  'Italienische  Reise').  The  parish-church  contains  a  ^Descent 
from  the  Cross  by  Girolamo  dai  Libri  (1st  altar  on  the  right).  — 
Ascent  of  Monte  Baldo  see  p.  239.  Beautiful  road  to  (18  M.)  Garda 
(see  below). 

Beyond  Malcesine  lie  two  rocky  islets,  Isola  delV  Olivo  and  Tri- 
melone.  The  next  stations  are  Assenza,  Magugnano,  and  Castelletto 
di  Brenzone  (V ;  Alb.  al  Sole),  with  a  curious  octagonal  church 
(ascent  of  Monte  Maggiore  see  p.  239).  We  then  pass  the  church 
of  San  Zeno,  an  early-Romanesque  edifice  with  a  double  nave,  and 
beyond  Pai  (p.  234)  reach  Torri  del  Benaco  (P ;  Alb.  Torri  del 
Bonaco ;  Alb.  Calcinardi),  with  an  imposing  ruined  castle  (1383) 
and  large  quarries  of  yellow  marble  (many  fossils).  To  Garda  via 
Albisano  see  p.  236. 

The  stretch  between  Torri  and  Garda  is  the  most  beautiful  part 
of  the  E.  bank.  The  banks  become  flatter.  The  picturesque  pro- 
montory of  *San  Fi(7i7Jo  (Hut. -Pens.  San  Vigilio,  R.  11/2-2,  pens, 
from  G  fr.)  with  the  neglected  Villa  Brenzoni  (formerly  Guarienti), 
built  by  Sanmicheli,  21/4  M.  to  the  W.  of  Garda,  extends  far  into 
the  lake.  In  the  beautiful  Bay  of  Garda,  sheltered  from  the  N.  by 
Monte  Baldo,  lie  several  villas,  including  the  Villa  Atheriini,  with 
a  fine  park,  with  pine-trees  (view  from  the  belvedere,  gardener 
1  fr.).  The  old  town  of  Garda  (P ;  Terminus  Hotel,  at  the  station, 
with  restaurant  and  small  garden,  R.  from  2'/^,  pens,  from  8  fr. ; 
Alb.  al  Mcnte  Baldo,  in  the  town,  plain),  at  the  influx  of  the  Tesino, 
which  descends  from  Monte  Baldo,  gives  the  lake  its  name. 

Turning  to  the  left  at  tbe  parish-cliurch  in  tlic  Borfjo,  as  the  group 
of  houses  at  the  S.  end  of  Garda  is  called,  and  a  little  farther  on  to  the 
riglit,  we  reach  in  2/4  hr.  the  little  Camaldulcnsian  mon.istery  of.  San  Giorgio 
or  Eremo  (1014  ft.),  situated  on  the  wooded  heights.  The  Rocca  di  Garcia 
(964  ft.;  view),  the  foremost  summit,  is  crowned  with  the  scanty  ruins  of 
the  castle  in  which  Bercngaiius  II.  (p.  51)  confined  (Jueen  Adelheid, 
widow  of  Lolhaire  (d.  950)  and  afterwards  wife  of  Otho  the  Great,  until 
she  escaped  to  Canossa  (j).  303).  In  1158-62  llie  little  mountain-fortress 
defied  the  army  of  Frederick  Barbarossa 

From  Garda  and  from  Costermano  (p.  230)  a  road  leads  to  the  N. 
through  theVal  Tesino  to  Sail Zmo  di  Montayna  (1015  ft.;  Hot.-Pens.  lolanda, 
R.  from  l>/o,  pens.  5-7  fr  ,  closed  in  winter),  a  little  summer-resort  situated 


236   Route  40.  PESCHIERA.  Lago  di  Garda. 

high  above  the  lake,  on  the  W.  slope  of  the  Monte  Baldo  chain.  San  Zeno 
is  the  starting-point  for  the  ascent  of  the  Monte  Maggiore  (comp.  p.  239). 
Mountain-paths  lead  to  the  N.  to  (IV4  hr.)  Pai  (p.  2cl5),  and  to  the  S.W. 
to  the  finely  situated  village  of  .4Z&i«aHo  (1016  ft.J,  whence  we  may  descend 
either  to  the  W.  by  a  steep  path  to  (20  min.)  Torri  (p.  235),  or  to  the  S. 
through  the   Volpara   Valley  to  (IV2  hr.)  Garda. 

Fkom  Gabda  to  Verona,  23V2  M.,  local  railway  in  2-2V4  hrs.  (fares 
4  fr.  20,  3  fr.  5,  1  fr.  90  c. ;  recommended  as  far  as  DomegliaraJ.  The  line 
first  runs  to  the  8.,  at  the  foot  of  the  Rocca,  skirting  the  lake,  to  (2  M.) 
Bardolino  (see  below;  station  1/2  M.  from  the  pier).  Thence  it  ascends 
through  luxuriantly  fertile  country ,  with  a  fine  view  of  the  lake  on  the 
right,  to  (4V2  M.)  Calmasino.  —  Near  (0V2  M.)  Cavaion,  a  pictaresquely 
situated  place,  we  approach  the  chain  of  hills  culminating  in  the  Monte 
Moscal  (1465  ft),  the  highest  point  attained  by  the  moraine-circus  mentioned 
on  p.  218. — 71/2  M.  Affi  (625  ft.),  on  the  E.  side  of  the  ridge,  is  the  junction 
for  the  branch-line  via  Costermano  (p.  235)  to  (5M.)  Caprino  (835  ft.;  Alb. 
del  Leone,  very  fair;  Alb.  Colomba),  at  the  S.  base  of  the  Monte  Baldo 
chain  (to  Ferrara  di  Monte  Baldo  and  ascent  of  the  Monte  Maggiore,  see 
p.  239).  —  The  main  line  descends  (view  on  the  left  of  the  Chiusa  di 
Verona,  p.  22;  on  the  right  of  the  fortifications  of  Pastrengo)  to  the  S.B. 
through  the  Val  Tasso  into  the  valley  of  the  Adij/e  and  crosses  the  river.  — 
12  M.  Somegliara  (p.  22) ,  where  our  line  crosses  the  Brenner  railway 
(stations  about  1/4  M.  apart).  —  We  now  turn  to  the  S.E.  into  the  Val 
Policella,  a  pleasant  upland  region,  between  the  Monti  Lessini  (p.  256)  and 
the  Adige,  noted  for  its  wine.  —  13  M.  Sanf  Ambrogio,  with  large  quarries 
of  red  (Veronese)  marble,  is  the  station  also  for  the  (IV2  M.)  village  of 
San  Giorgio  (1231)  ft.),  which  possesses  a  church  of  the  Lombard  period 
and  picturesque  cloisters.  —  17  M.  San  Floriano,  with  a  Romanesque  cam- 
panile. —  Beyond  (I8V2  M  )  Negrar  we  skirt  the  left  bank  of  the  Adige 
via  (2OV2  M.)  Parana  alV  Adige  (p.  22).  —  23V2  M.  Verona  (Stazione  Porta 
San  Giorgio,  p.  243). 

The  hills  farther  on  are  covered  with  olive-trees,  vines,  and 
fruit-trees.  "We  enjoy  a  fine  view  of  the  lake-expanse,  with  Cape 
Manerha  and  Sirmione  in  the  distance.  The  next  station  is  Bar- 
dolino (P;  Alb.  Bardolino,  in  the  town;  rail,  station,  see  above),  a 
small  town  celebrated  for  its  wine.  It  possesses  two  little  early- 
Romanesque  churches:  San  Severe  (now  a  music  school)  and  San 
Zeno.  —  We  next  pass  Cisano,  the  Romanesque  church  of  which 
boasts  a  Madonna  by  Fran.  Torbido,  and  the  church  of  the  Madonna 
della  Pergolana^  and  reach  Lazise  (P.),  with  a  mediaval  town-wall, 
a  castle  of  the  12th  cent.,  and  ancient  fresc^oes  in  the  church  of  San 
Niccolo;  fine  country-hotises  in  the  neighbourhood.  —  The  steamer 
next  touches  at  — 

Peschiera  (Hot.  Montrhor.  R.  lV2-'^i  pens,  from  41/2  fr.;  Hot. 
BelV  Arrive^  R,  1  fr.,  unpretending,  closed  in  winter),  an  old  for- 
tress (1000  inhab.)  at  the  S.E.  end  of  the  Lago  di  Garda,  at  the 
efflux  of  the  Mincio.  On  30th  May,  1848,  the  place  was  taken  by  the 
Piedmontese  under  Manno  after  a  gallant  defence  by  the  Austrian 
General  Rath,  which  lasted  six  weeks.  —  To  Milan  or  Verona,  see 
R.  37,  —  The  station  (Restaurant,  dej.  or  D.  2-3  fr.)  is  on  the  E. 
side  of  the  town,  about  1/2  M.  from  the  pier  (one-horse  carr.  50c. 
each  person). 


Lngo  di  Oarda.  lUVA.  40.  Eoute.   237 

Riva.  —  Steamboat  Piers:  Riva  CiUd,,  at  the  harbour;  Rivet  Ferrovia 
(not  always  called  at),  at  the  railwiiy-slation.  —  The  Railway  Station 
(■  Restaur  ant)  lies  about  Vs  M.  to  the  K.  of  the  harbour. 

Hotels.  Lido  PAXAuii  Hotel,  to  the  E.  of  the  station,  with  lift,  steam- 
heating,  and  garden,  R.  from  5,  B.  IV2,  dig.  S'/z-i,  D.  5-8,  board  8,  bath  2V2, 
omn.  V'.i"V-i  ^-'i  CIk.  Hot.  Imperial  del  Sole  (marked  8  on  the  map),  at  the 
harbour,  with  terrace  on  the  lake,  R.  2-4,  B.  1,  I).  3,  S.  2,  pens.  6-8,  omn. 
•/a  A'. :  °Hot.-Pkns.  Eiva,  Piazza  Giardino,  near  the  barracks,  with  two  ad- 
joining houfes  in  the  Piazza  Urolo  and  the  Via  della  Stazicne,  R.  2'/2-3  K., 
B.  90  ft.,  D.  3,  S.  2,  pens.  61/2-8,  omn.  V2  K- ;  Hot.  Pens.  See-Villa,  three  villas 
with  a  park,  3/4  M.  to  the  E.  of  the  station,  on  the  Torbole  road,  R.  2-3, 
B.  I,  I).  3,  S.  2.  pens.  7-8  A".,  omn.  60  h. ;  'Hot. -Pens,  du  Lac,  a  few  yds. 
nearer  the  station  than  the  preceding,  with  garden  and  bathing-establish- 
ment, R.  2-3,  B.  1,  D.  3,  S.  2,  pens.  6-7  A^.,  omn.  60  7i.,  these  two  adapted 
for  a  stay  of  some  time.  —  Less  pretentions,  for  passing  tourists  :  *H6t. 
Central,  Bayrisuuer  Hof,  both  at  the  harbour,  K.  from  i  K.  60  ft. ;  'B6hm''s 
Hotel,  R.  from  1  A'.  40,  D.  2  A'.  40ft.,  pens,  from  b  K.\  Hot.  Bahnhop, 
pens.  5-6  A'.,  very  fair;  Toukisten-Gastuof  Keautner,  R.  2  A".,  these  three 
near  the  station ;  Hot.  Iolanda,  Piazza  Catena,  with  garden,  prettily  situated, 
pens.  5V2-7  K.  \  Hot.  Bellevue,  also  at  the  beginning  of  the  Ponale  road, 
R.  from  11/4,  pens.  6-6  .ff. -,  Alb.  San  Marco  Giardino,  Viale  luviolata,  in 
the  N.  part  of  the  town,  R.  IV2-2,  pens.  S'/zA".,  Italian,  very  fair:  Hot. 
WuscH.  Viale  Dante,  near  the  Porta  San  Marco,  with  beer-garden,  R.  1-2, 
pens.  5  A'.;  Am.  Lepre.  Alb.  Gallo  ,  both  in  the  Piazzetta  San  Gallo, 
behind  the  Bayrischer  Hof,  unpretending.  —  Board  nnd  medical  attendance 
for  invalids  at  Dr.  w»  Hartungm^s  Eiholungsheim,  56-90  A.  weekly. 

Beer.  Hut.  Central  (also  caft^);  Bayriicher  Hof;  Alb.  San  Marco  Oiardino 
(see  above),  with  garden;  Krduiner  (see  above). 

Post  &  Telegraph  Office  in  the  Piazza  Brolo,  ne.xt  door  to  the  Hot.  Riva. 

Money  Changers.  Url  (also  ticket-office),  at  the  Hot.  del  Sole;  Vine. 
Andreit. 

Bookseller,  Oeorgi,  Piazza  Giardino. 

lake  Baths  beside  the  Palace  Hotel,  and  below  the  Ponale  Road,  to 
the  S.  of  the  abattoir  (macello). 

Sailing  and  Rowing  Boats  (4  pers.),  per  hr.  3  K.  (rowing-boat  1  K.  20  ft., 
with  1  rower  2  K.) ;  to  the  Ponale  Fall  or  to  Torbole  3,  there  and  back 
iK.;  to  the  Ponale  Fall,  Torbole,  and  back  8  A'. ;  to  Limone  10,  to  Blal- 
cesine  i2  K.  —  Motor- Boat  from  the  Piazza  Catena  6  times  daily  to  the 
Ponale  Fall  and  to  Torbole  (50ft.;  may  also  be  hired  for  excursions). 

Carriage  to  the  Ponale  road  2V2,  there  and  back  4  A'. ;  to  Varone  1  A". 
60ft.  *  3  (back  by  Arco  5)  K.  ;  to  Torbole  2  &  3  A'. ;  to  Nago  3V2  &  S'/z 
(back  by  Arco  8)  K. ;  to  Pieve  di  Ledro  6  &  9  AT. ;  to  Mori  6V2  &  10  K.  — 
Omnibus  (60c.)  4  times   daily  to  Torbole,   starting  from  the  Hot.  Central. 

Railway  to  Arco  and  Mori,  see  p.  22. 

English  Church  Sei'vice  in  a  chapel  at  the  Hotel  du  Lac. 

Riva  (230  ft. ),  a  busy  harbour  -with  3760  inhab.,  is  cbarmingly 
situated  at  the  N.  W.  end  of  the  lake,  here  resembling  a  fjord,  at  the 
base  of  the  precipitous  Bocchetta  (4976  ft.).  On  the  hillside,  high 
above  the  town,  rises  a  ruined  watch-tower  (Bastione)  of  1608, 
recalling  the  Venetian  rule.  Riva  is  a  sheltered  and  healthy  place, 
affording  pleasant  summer-quarters;  the  heat  is  tempered  by  the 
lake,  and  in  the  afternoon  the  town  lies  in  the  shadow  of  the  hills. 

The  centre  of  traffic  is  the  piazza  at  the  harbour,  with  the 
massive  Torre  Apponale  (now  a  belfry) ,  a  remnant  of  the  town 
wall.  The  houses  have  arcades  on  the  grouudfloor.  From  the  N. 
oiul   of  the  piazzn  the  Via  Lunga  leads   to  the  Porta  San  Marco, 


238   Route  40.  MONTE  BALDO.  Luf/o  dl  Garda. 

the  N.  gate  of  the  town.  —  To  the  E.  of  tlie  harbour  lie  the  small 
Piazza  Giardino  ami  the  barracks  of  La  Rocca,  surrounded  Ijy  a 
moat,  on  the  site  of  a  castle  of  the  Scaligers  (12-15th  cent.l  To 
the  N.  of  the  Rocca  is  the  Piazza  Brolo,  whence  an  avenue  of  palms 
and  magnolias  leads  to  the  E.  to  the  station,  and  the  narrow  Via  del 
Vento  to  the  N.,  past  the  Parish  Church,  to  the  Porta  San  Michele, 
the  N.E.  gate  of  the  town.  Thence  the  broad  Viale  Inviolata  leads 
to  the  church  of  the  Inviolata,  a  sumptuous  baroque  edifice  of  1003, 
oa  the  road  to  Arco. 

ExcunsxoNs.  The  Fall  of  the  Ponale  is  best  visited  by  motor  boat 
or  rowing-boat  Cp.  237;  CA.^/ihT.),  landing  at  the  modest  reHauraut  below 
tUe  fall.  The  'custode  del  Ponale'  exact?  20  h.  from  each  visitor  for  opening 
the  shutters  in  front  of  the  lowest  fall,  which,  however,  is  of  trifling 
interest.  Visitors  should  ascend  pa'st  the  Riva  electric  worlcs  and  three 
other  waterfalls  to  the  (20-23  min.)  "Ponale  Road  (950  ft.;  inn),  which 
leads  high  above  the  lake,  through  a  succession  of  tunnels  and  cuttings, 
back  to  (^4  hr.)  Riva.  The  boat-ti-ip  and  the  view  from  the  road  (very 
dusty  in  summer;  in  shade  after  3  ixni.)  are  the  chief  attractions  on  this 
expedition.  —  From  the  point  where  the  road  above  the  Ponale  {iorge 
turns  oil  to  the  Ledro  valley  on  the  W.,  a  footpath  leads  to  the  left, 
crossing  the  Ponale,  to  the  (V2  hr.)  view -hi  II  beside  Preijasina  (1758  ft.), 
overlooking  the  lake.  Thence  we  may  follow  the  wooded  slope  of  the 
Monte  Gtiil  (4335  ft.),  to  the  S.W.,  to  the  (2  hrs.)  Eoccolo  di  Mmhra  (3S05  ft. ; 
fine  view);  and  thence  de-^cead  by  a  wide  digression  via  the  Malf/a  Valacco 
and  through  the  Gorge  of  (he  Siitgol  to  (2  hrs.)  Limooe   (p.  234). 

An  easy  zigzag  path,  in  shade  in  the  afternoon,  immediately  to  the 
left  outside  the  Porta  San  Slarco,  ascends  in  Vc  hr.  to  the  Bastione  (p.  237; 
line  views).  A  pleasant  walk  leads  below  the  ruined  tower,  to  the  N.W., 
along  the  slope  of  the  Rocchetia  to  (20  min.)  Santa  Maria  Maddulena  (inn), 
then  by  a  narrow  path  through  the  picturesque  Alhola  Valley  to  the  ('/2  hr.) 
paper-mill  at  >ian  Giacomo,  I'/i  M.  to  the  K.W.  of  Riva  by  the  high-road. 

A  road  (omnibus  4  times  daily)  leads  from  the  Porta  San  Marco  to- 
wards the  N.W.  (to  the  right  at  the  fork  before  San  Giacomo)  to  (3  M.) 
Varone  (403  ft.),  with  a  fine  waterfall  in  a  grand  rocky  gorge  (adm.  40  A., 
electric  light,  useless  except  in  the  evening,  60 A.;  cloak  desirat)le  on 
account  of  the  spray).  Thence  we  may  proceed  either  by  road  to  (3  M.) 
Arco  (p.  239)  or  on  foot,  via  Cologna,  to  (1  hr.)  Tenno  (1425  ft.),  with  an 
old  castle  (partly  destroyed  in  1703;  charming  view  from  the  terrace  in 
the  garden) ,  whence  we  may  proceed  through  richly  cultivated  uplands 
to  Varignano  and  (I'/z  br.)  Arco  (p.  239),  or  go  on  to  the  N.W.  to  the 
(3  M.)  lonely  Lago  di  Tenno  (1840  ft.)  and  return  thence  to  the  S.W.,  via 
(IV2  hr.)  Pramo,  to  Riva. 

Visitors  may  ascend  the  strongly  fortified  Honte  Brione  (1235  ft.),  to 
the  E.  of  Riva,  only  as  fjr  as  the  (1  hr.)  Belvedere,  beside  the  S.  battery 
(fine  survey  of  the  whole  lake).  The  route  (indicated  by  guide  boards) 
diverges  from  the  Torbole  road,  a  little  before  the  Fort  San  Nicolo.  Photo- 
graphing is  forbidden. 

The  ascent  of  Monte  Baldo  (p.  230),  noted  for  its  flora,  is  interesting 
and  varied,  but  somewhat  fatiguing  in  winter  on  account  of  the  snow,  and 
in  summer  on  account  of  the  heat.  This  range  consists  of  two  groups, 
separated  by  the  depression  of  the  Bocca  di  Navene  (4690  ft.) :  K.  the  AUissimo, 
and  S.  the  Cima  di  Val  Dritta  (7275  ft.)  and  the  Monte  Maggiore,  with  the 
Punta  del  TeUgrafo  (7218  ft.).  The  AUissimo  (6790  ft.)  is  best  ascended  from 
Mori  (p.  22),  on  the  N.E.  side.  The  route  ascends  to  (2  hrs.)  Brentonico 
(2276  ft.;  Alb.  Zeni;  Alb.  Monte  Baldo);  thence,  with  guide,  over  Alpine 
pastures  via  (I'/z  hr. )  San  Giacomo  (3825  ft. ;  inn)  to  the  (3  hrs.)  top  (refuge- 
hut);  fine  view  of  the  mountains,  the  N.  portion  of  the  Lago  di  Garda, 
and  the  Sarca  valley.  Descent  (not  recommended  for  the  ascent)  either 
to  the  N.  via  the  Malga  Cusina  (5  min.  above  a  good  spring)  and  finally 
by  a  very  stony  path  to  (4  hrs.)  Torbole  (p.  235),    or  to   the  S.W.  via  the 


i  T.nAlMWe 


Layo  di  Garda.  AUCO.  40.  RouU.    239 

Bocca  Dordighera  (6180  ft.)  and  the  Bocca  di  Navetit  (4865  f(.)  to  \\\q.  Madonna 
di  Niiveiie  and  (i'/-'  Its.)  Malctsine  (p.  235).  —  The  jiauorama  is  still  grander 
from  the  *Monte  Maggiore.  A  steep  road,  shady  iu  the  atternoon,  leads 
from  J'eri  (p.  22)  to  (2-2'/-.!  hrs.)  the  pilgrimage-church  of  Madonna  della 
Corona  (2540  ft.),  built  iuto  the  rock,  not  far  from  the  village  of  Spiazzi 
(3133  ft. ;  view ;  Alt).  Zau.itii).  Spiiizzi  may  also  be  reached  from  the  railway- 
station  of  Capvino  (comp.  p.  230;  diligence)  and  from  Garda  (p.  235),  by 
the  road  via  Cos'.eritiano  (3'/i  hrs. ;  carr.  there  and  back  G  8,  with  two  horses 
10-12  fr.).  From  Spiazzi  wc  lollow  the  highroad  to  the  N,  to  (3  JI.)  Ferrara 
di  Monte  BaUlo  (2810  ft.  ;  simple  inn  ;  guides  U.'rn.  and  Oiov.  Tonini),  whence 
a  good  track  (mule  4  fr.)  ascends  to  the  (3'/2-4  hrs.)  summit,  on  which  is 
a  Rifugio.  Descents:  on  the  N.  side  by  a  path  (diflicult  at  places),  com- 
manding beautiful  views  of  the  I.ago  di  Garda,  via  the  Fiabio  Alp  to  (4-5  hrs.) 
Malcesine  (p.  235:  ascent  by  tbis  route,  7-8  hrs.,  with  guide);  on  the  S.W. 
side  via  Costabella  (6765  ft.)  to  the  Bocchella  di  JVaoln  (5395  ft.),  and  thence 
either  via  Fra  Besteniia  and  Villunovu  to  (5  hrs.)  Caslelletto  (p.  235;  ascent 
by  this  route,  8  hrs,,  with  guide),  or  via  the  Madonna  delta  Net-e  (4725  ft.), 
Zocchi  (3'J90  ft.),  and  Liiiiiini  to  (4'/2  hrs.)  San  Zeno  di  Montagna  (p.  236; 
ascent  by  this  route  7  hrs.). 

Val  di  Ledro  (carr.  to  Vieve  see  p.  237;  diligence  daily,  in  summer 
twice,  to  Picve  in  31/2,  to  Store  iu  5  hrs.).  The  continuation  of  the  Ponale 
road  leads  past  a  new  fort  and  via  Biacesa  and  Molina  to  the  pretty  Lago 
di  Ledro  (2140  ft.),  on  the  N.  bank  of  which  lis  Mezzolago  and  (8  M.  from 
Riva)  Fieve  di  Ledro  (•Albergo  Alpino,  R.  1  K.  60-2  A'.  40  A.).  —  Thence 
the  road  leads  via  Bezzeeca  and  Tiarno,  and  through  the  sequestered  Val 
Anipola,  to  (9  M.)  Storo  (1340  ft. ;  Agnello)  in  the  valley  of  the  Chiese,  here 
called  the  Val  Buona.  Heyond  Darzo  (Ancora,  very  fair)  and  Lodrone 
(1245  ft.)  it  crojses  the  Caffaro  (p.  229).  From  Caffaro  to  the  Lago  d^Jdro 
and  to   Vestone,  see  p.  229. 

About  4  M.  to  the  N.E.  of  Riva,  up  the  beautiful  valley  of  the 
Sarca  (railway,  sec  p.  2*2),  lies  — 

Arco.  —  Hotels  (the  larger  open  only  from  Oct.  to  May;  nearly  all 
have  gardens).  "Hotel  Kurmaus,  with  whey-cure  and  a  covered  promenade, 
R.  3-7,  1!.  1  A'.  20  h.,  D.  4-5,  S.  2-21/2,  pens.  6-lUi.,  omn.  CO/i. ;  'KukCasino 
(C  on  the  Map),  with  covered  promenade  and  cafd- restaurant,  R.  from  3, 
R.  1,  I).  3,  S.  2,  pens,  from  9  A'.;  Hot.-Pens.  Stkassek,  R.  2  K.  QOh.-QK., 
a.  1,  pens.  6-10  A'.;  Hot.  Okimiania,  R.  2  6,  15.  1,  D.  3,  S.  2,  pens.  6-10  A'.; 
*UoT.  Tens.  Olivo,  R.  2-3'/2,  B.  80A.-17i.'.  20  ?i.,  pens.  5-8  7i'. ;  these  live  are 
in  the  Kurplatz;  'HuT.-PtNS.  Bellevue,  near  the  rail,  station,  li.  1  K.  60ft.- 
6  A'.,  B.  1,  D.  2  A'.  40,  B.  1  A'.  60  ft.,  pens.  6-U  7i. ;  'Hot.-Pens.  Victouia, 
V2  M.  to  the  X.W.  of  the  Kurplatz;  'Hot. -Pens.  Olivenheim,  high  up,  on 
the  edge  of  the  olive-wood,  with  view-terrace;  Hot. -Pens.  i>e  L'EuaorE, 
near  the  Kurplatz,  with  beer-restaurant,  pens,  i^rom  6  7i . ;  Hot.  Ekzuekzog 
Aliikkoht,  in  Chiarano  (p.  240),  R  from  1,  pens,  from  5  7i.  —  The  following 
are  ojicn  all  the  year  round:  Hot. -Pens.  Austuia,  on  the  Kur-Promenade, 
with  beer- restaurant,  U.  1  A'.  60  ft. -2  A'.,  pens.  5-6  A'. ;  Hot.  Kaiserkbone, 
Via  Giov.  Scgantini,  in  the  old  town,  with  small  garden,  ]ieiis.  from  5  A'. ; 
HOder,  near  the  railway-station,  R.  1  A'.  60-3  K.,  pens.  5-7  7i. 

Pensions  (5-10  K.  daily,  L.  &  heating  extra).  Fens.  Quisisana;  TlSt.-Penn. 
Romarzolo ;  F.  AUenbuvg ;  P.  liainalter;  F.  Aurora;  F.  Monrcpos.  —  Private 
Ai'AKTMENTS  in  various  villas;  R.  according  to  aspect,  40-lUO  A',  per  month. 

Wine-Kooms.  Silvestro;  Povoli.  —  Cafe  and  Confectioner.  Strasser 
(see  above). 

Kuraustalt,  to  the  S.  of  the  Casino,  well  fitted  up,  with  inhaling  rooms, 
hydropathic  appliances,  etc. 

Donkey  per  hr.  1  A'.,  each  br.  addit.  60  ft.  —  Carriage  to  Rovereto 
(witliout  returning)  10,  with  two  horses  16  7i. ;  to  Trent  (without  returning) 
14  or  24  7i. 

Physicians.    I)r.  Qager;  Dr.  Oerke;  i)r.  ron   ^^'eiesmayr,  etc. 


240   Route  40.  ARCO. 

Visitors'  Tax,  2  K.  per  pers.  per  week  (3  days  free);  music  t.ix  for  the 
whole  season  5  K.  —  Ban<i  at  the  Kur-Casino  daily  11-1  &  2-3.30;  in  spring 
and  autumn  also  3-4.30. 

English  Church  Service  in  the  Protestant  Church,  near  the  railway. 

Arco  (300  ft.),  au  ancient  towu  of  4400  inhab.,  situated  on  the 
right  bank  of  the  Sarca,  forms  a  semicircle  at  the  S.  base  of  a 
precipitous  rock  (930  ft.),  which  is  crowned  by  the  Castle  of  Arco 
(views),  destroyed  by  the  French  in  1703  during  the  War  of  the 
iSpanish  Succession.  Almost  entirely  shut  in  on  the  N.,  E.,  and 
W.  by  lofty  mountains,  Arco  is  frequented  as  a  winter-resort  by 
consumptive  and  nervous  patients.  The  climate  resembles  that 
of  Gardone  (p.  283),  but  Arco  has  a  lower  rainfall  and  is  somewhat 
less  moist  (relative  moisture  72  per  cent)  and  cooler  in  winter.  The 
Ora  (p.  230)  is  sometimes  troublesome,  especially  at  the  beginning 
of  spring.  The  vegetation  is  thoroughly  southern  in  character 
(p.  230);  numerous  olive-groves. 

The  most  frequented  resorts  of  the  visitors  are  in  the  neigh- 
bourhood of  the  two  largest  hotels  aud  the  new  Salone  Municipale, 
and  the  Kurplatz,  a  little  to  the  E.  To  the  N.  of  the  last  are  the 
Collegiate  CfturcA  (1603-18),  in  front  of  which  a  monument  is  to 
be  erected  to  Giov.  Segautini  (1868-99),  the  painter,  a  native  of 
Arco,  and  the  old  town-palace  of  the  Counts  of  Arco,  with  faded 
frescoes. 

The  magnolia  avenue  between  the  two  chief  hotels  is  continued 
to  the  W.,  by  a  road  passing  numerous  villas,  to  Chiarano  (see  below). 
A  side-road  at  the  W.  end  of  the  avenue  leads  to  the  right  to  the 
villa  of  the  Archduke  Frederick  (adm.  to  the  garden  on  application 
to  the  steward). 

ExoDESioNs.  To  the  N.  by  sunny  paths  to  the  C<isa  Bianca,  Vedtita 
Maria,  and  the  live-oaks  (in  all  ^U-i  hr. ;  guide-posts).  The  Castle  of  Arco 
(see  above)  is  reached  from  the  Kurplatz  in  less  than  '/z  hr.  (opened  by  a 
boy ;  fee).  —  The  romantic  Via  alia  Sega  e  Prabi,  diverging  to  the  left  on 
this  side  of  the  bridge,  between  the  caatle-rock  and  the  Sarca,  traverses 
the  imposing  remains  of  a  huge  landslip  to  (1  hr.)  Ceniga  (inn),  whence  we 
may  return  hy  a  stony  path  through  the  Laghel  Valley,  passing  the  small 
Lake  Laghel,  which  is  dry  in  summer  (IV4  hr.). 

Pleasant  walk  to  the  W.  past  the  Villa  Hildebrand ,  a  convalescent 
home  for  German  ofQcers,  to  the  hamlet  of  (^/4  M.)  Chiarano,  with  the  Villa 
Angerer  (rich  Mediterranean  flora  in  the  garden).  Thence  wc  proceed 
either  by  the  road  to  the  left,  via  the  convent  of  Santa  Maria  delle  Qrazie 
to  (8  M.)  Varone  (p.  238),  or  to  the  right  to  (V4  M.)  Varignano  and  thence 
ascend  to  the  right  hy  a  rough  path,  aflfording  beautiful  views,  to  (IV4  hr.) 
Tenno  (p.  238).  From  Tenno  we  descend  by  Cologna  to  (40  min.)  Varone, 
and  return  across  the  plain  to  (3  M.)  Arco. 


V.  Yenetia. 


41.  Verona 243 

a.  Quarters  on  the  Right  Bank  of  the  Adige  ....  246 

b.  Left  Bank  of  the  Adige  (Veronetta) 253 

From  Verona  to  Caldiero  and  (bologna.    From  Caldiero 

to  Tregnago.    From  Verona  to  the  Val  Pantena  and 
to  Caprlno,  266. 

42.  From  Verona  to  Mantua  and  Modena  (Bologna,  Florence)  266 

From  Verona  to  Rovigo,  257.  —  From  Mantua  to  Via- 
dana  via  Sabbioneta;  to  Monsolice  via  Este,  263.  — 
From  Suzzara  to  Parma  and  to  Ferarra,  263,  261. 

43.  From  Verona  to  Venice.    Vicenza 264 

From  Vicenza  to  tlie  Batha  of  Recoaro,  Schio,  Arsiero, 
and  Torrebelvicino,  268. 

44.  Padua 270 

From  Padua  to  Venice  via  Fusina,  278. 

45.  From  Vicenza  to  Treviso •    .  279 

4G.   From  Padua  to  Bassano 280 

47.   Venice 281 

a.  Piazza  of  St.  Mark  and  Environs.   Riva  degli  Schiavoni  293 

b.  From  the  Piazza  of  St.  Mark  to  the  Academy    .     .     .  30.0 

c.  Canal  Grande 313 

d.  From   the   Piazza   of  St.  Mark   to    the   Rialto   Bridge 

and  the  Northern  Quarters 321 

e.  From  the  Piazza  of  St.  Mark  to  Santi  Giovanni  e  Paolo, 

and    thence   to   the  Kiva  degli  Schiavoni.     Eastern 
Quarters 324 

f.  Quarters  to  the  W.  of  the  Canal  Grande 330 

g.  From   the   Campo   della  Carila   to    Santa  Maria  della 

Salute.     San  Giorgio  Maggiore.     Giudeeca  ....     339 
h.  Excursions  :  The  Lido.   Murano.    Burano  and  Torcello. 

San  Lazzaro.    Chioggia 341 

■58.   From  Venice  to  Trieste 345 

a.  Via  Treviso  and  Udine 345 

From  Treviso  to  Belluno,  347.  —  From  Conegliano  to 
Vittorio,  348.  —  From  Udine  to  Cividale,  350. 

b.  Via  Portogj.uaro  and  Monfalcone.     Excursion  to 
Aquileia  and  Grade 351 


The  N.E.  part  of  Italy,  named  II  Veneto  after  the  ancient  Veneti, 
is  divided  into  the  eight  provinces  of  Verona,  Vicenza,  Padova,  Rovigo, 
Venezia,  Treviso,  Belluno,  and  Udine.  Its  area,  9(i59  sq.  M. ,  is  nearly 
equal  to  that  of  Lombardy,  vphile  its  population  of  3,192,700  is  considerably 
smaller.  The  western  and  larger  portion  of  the  country,  between  the 
Mincio  and  Piave,  is  indeed  as  thickly  peopled  as  the  eastern  and  less 
prosperous  part  of  Lombardy  between  the  Adda  and  the  Mincio ;  but  the 
Priuli,  or  ancient  county  of  Forum  Julii,  the  border-land  to  the  E.  of  the 
Piave,  consists  of  very  inferior  soil,  owing  to  the  ddbris  brought  down  by 
the  Alpine  streams.  The  'Pttrlanians\  the  poor  inhabitants  of  the  Friuli, 
speak  a  patois  of  their  own. 

The  Venetian  Dialect  no  longer  contains  traces  of  the  Gallic  ele- 
ment like  that  of  the  districts  from  Piedmont  to  the  Romagna,  which 
wore   once   conquered   by  the  Celts.     It  boasts  of  having  been    frequently 

Bakukkek.  Italy  I.  13th  Edit.  16 


242  VENETIA. 

used  by  men  of  letters,  as  for  example  by  Goldoni  in  his  comedies,  and 
is  the  softest  of  all  the  Italian  dialects ,  the  flattening  and  elision  of  the 
consonants  being  very  common.  Thus  nevode  for  nipote^  suar  for  sudare, 
fogo  for  fuoco,  sior  for  signore.  Another  characteristic  is  the  conversion  of 
g  into  z,  as  zenie  for  gente,  zorno  for  giorno,  mazore  for  maggiore. 

The  history  of  the  country  has  always  been  influenced  by  the  proximity 
of  the  sea  and  the  peculiar  formation  of  the  coast.  In  the  lower  part  of 
its  course  the  Po  differs  widely  in  character  from  all  the  other  rivers  in 
Europe.  Its  fall  is  very  gradual ,  being  for  a  considerable  distance  2'V3 
inches  only,  and  latterly  little  more  than  '/4  inch  per  English  mile.  To- 
wards the  end  of  its  course,  moreover,  it  receives  its  most  important 
tributaries.  The  result  is  that  the  adjacent  districts  are  much  exposed  to 
inundations,  a  danger  which  has  to  be  averted  by  the  construction  of  huge 
dykes;  and  these  works  frequently  require  to  be  raised,  as  the  bed  of  the 
river  is  constantly  rising.  The  Po,  together  with  the  Tagliamento,  Livenzu, 
Piave^  Brenta,  Adige,  and  other  coast-rivers,  terminates  in  a  vast  delta  which 
extends  along  the  whole  coast  of  Venetia.  The  quantity  of  alluvial  deposit 
is  so  great,  that  the  coast-district  between  Tagliamcnto  and  Ravenna  alone 
was  increased  by  about  295  sq.  M.  in  the  course  of  the  19th  century.  From 
the  same  cause  the  beds  of  the  streams  are  continually  undergoing  change 
and  subdivision.  Thus  the  ancient  seaport  oi  Eatria  now  lies  1572  M.  from 
the  coast,  and  while  the  Po  formerly  flowed  towards  the  S.,  it  has  formed 
its  present  embouchure  since  1150.  The  extensive  lagoons  (lagune),  sep- 
arated from  the  sea  by  narrow  strips  of  land  (lidi),  and  connected  with  it 
by  outlets,  would  render  the  whole  coast  uninhabitable  in  summer,  were 
it  not  for  the  ebb  and  flow  of  the  tide,  which  distinguishes  the  Adriatic  from 
other  parts  of  the  Mediterranean  (comp.  p.  293),  and  prevents  malarious 
exhalations.  This  extensive  alluvial  territory,  which  reminds  one  of 
Holland,  called  into  activity  the  ingenuity  and  enterprise  of  its  inhabitants 
at  an  early  period,  and  a  temperate  and  conservative  character  has  thus 
been  imparted  to  their  history. 

The  Veneti,  a  branch  of  the  Illyrian  stock,  kept  entirely  aloof 
from  the  immigrating  Celtic  tribes.  The  seaports  of  Hatria  and  Spina, 
at  the  mouths  of  the  Po ,  carried  on  a  considerable  trade  at  an  early 
period ,  and  several  canals  on  a  large  scale  were  constructed  as  early 
as  B.  C.  380.  In  the  3rd  cent,  the  Veneti,  together  with  the  Cenomani, 
a  Celtic  tribe  which  occupied  Brescia  and  Verona,  entered  into  an 
alliance  with  Rome.  While  the  Eomanisation  of  Lombardy  and  Pied- 
mont was  attended  with  violent  struggles,  it  was  rapidly  eflfected  here 
without  opposition.  The  Roman  colony  of  Aquileia  was  founded  as  early 
as  181  B.  C.,  and  the  boundary  of  Italy  was  thus  laid  down  at  the  point 
to  which  it  still  extends.  Owing  to  its  manufactures,  cattle-breeding,  and 
agriculture ,  Venetia  prospered  greatly  under  the  emperors.  Padua  was 
the  wealthiest  town  in  Italy  next  to  Rome,  and  was  rivalled  in  W.  Eu- 
rope by  Cadiz  alone,  as  it  numbered  during  the  reign  of  Augustus  no 
fewer  than  500  citizens  of  knightly  fortune  (i.  e.  upwards  of  about  4500i). 
The  city  was  afterwards  destroyed  by  Attila,  and  a  similar  fate  befel 
AUinum,  a  prosperous  commercial  town  in  the  Lagoons,  and  Aquileia, 
which  in  ancient  times  was  of  a  similar  importance  to  the  modern  Trieste. 
The  inhabitants  of  these  coast-towns  sought  refuge  from  their  conquerors 
in  the  islands  of  the  Lagoons,  where  they  founded  Heraclea,  Grada  (Aqvileia 
Nova),  Caorle,  Torcello,  Burano,  Murano^  Malamocco,  Pellestrina.  Chioggia, 
and  other  places.  The  Lombards  (p.  126)  were  repulsed  with  aid  from 
the  Byzantine  emperors;  but  in  the  following  century  the  necessity  of  a 
closer  union  for  mutu;il  support  led  to  the  establishment  of  a  confederate 
state.  In  697  Paulucius  Anofestus  (d.  716)  was  elected  the  first  Dux  ot  Doge 
of  this  naval  union,  while  Heraclea  was  chosen  as  the  seat  of  government. 
In  707,  however,  the  latter  was  transferred  to  Malamocco  Removed  frona 
Teutonic  influences,  and  dnder  the  protection  of  the  Byzantine  Empire, 
the  most  famous  of  mediseval  states  took  its  rise  here  from  apptirently  in- 
significant beginnings.  In  809  the  islands  repulsed  an  attack  of  King  Pepin, 
the  son  of  Charlemagne,  but  on  the  capture  of  Malamocco  the  inhabitants 
were  crowded  together  in  the  islands  of  Kiioallo  and  Torcello. 


oireuioj-euoj-JA 


VERONA.  41.  Route.    243 

Rivoalto,  the  most  secure  of  all  the  islands,  was  selected  in  811  as 
the  seat  of  government,  and  here  accordingly  the  city  of  Venice  was  founded. 
Agnellus  Fartecipaiius  is  said  to  have  been  the  first  doge  whose  residence 
occupied  the  site  of  the  present  Palace  of  the  Doges.  Situated  between 
the  Byzantine  and  Franconian  empires ,  Venice  became  a  connecting  link 
between  the  trade  of  each,  and  the  great  depot  of  the  traffic  between  the 
East  and  the  West.  In  828  a  Venetian  fleet  brought  the  body  of  St.  Mark 
to  Venice ,  and  thenceforth  the  Venetians  revered  him  as  their  tutelary 
saint,  using  his  emblem,  the  lion  (Rev.  iv.  7),  as  their  cognizance,  and  his 
name  as  synonymous  with  the  republic,  while  their  supreme  official  func- 
tionaries were  styled  'Procurators  of  St.  Mark\  In  the  interests  of  her 
commerce  Venice  was  at  length  induced  to  make  foreign  conquests.  These 
were  at  first  confined  to  the  Istrian  and  Dalmatian  coasts  for  the  purpose 
of  procuring  timber  and  suppressing  piracy.  The  rivalry  that  sprang  up  with 
Genoa  during  the  Crusades  led  the  Venetians  to  effect  a  footing  in  the  Levant, 
and  to  establish  extensive  colonies.  At  the  same  time  the  constitution  of  the 
state  developed  into  a  rigorous  oligarchy,  which  with  terrible  impartial- 
ity contrived  to  keep  both  the  nobility  and  people  in  check,  and  effectu- 
ally to  curb  the  national  desire  for  liberty.  In  the  neighbouring  towns 
the  supreme  power  rested  on  a  foundation  altogether  different.  The  re- 
publics had  been  overthrown  by  the  despots,  who,  supported  by  mercen- 
ary troops  and  the  favour  of  the  lower  classes,  had  founded  principali- 
ties in  the  modern  sense  of  the  word.  Such  were  the  Visconti  in  Milan., 
the  Scaligers  in  Verona.,  the  Carrara  in  Padua.,  the  Gonzaga  in  Mantua., 
and  the  Este  in  Ferrara.  The  danger  of  collision  with  warlike  princes, 
and  the  support  they  aflorded  to  every  attempt  to  overthrow  the  Venetian 
constitution,  led  to  their  own  downfall.  Venice,  having  made  conquests 
on  the  mainland  (terra  ferina)  for  the  sake  of  her  own  safety,  soon  be- 
came one  of  the  chief  Italian  powers,  and  was  thus  involved  in  all  the 
interminable  wars  caused  by  the  rivalry  of  the  different  states.  She  ob- 
tained permanent  possession  of  Treviso  in  1339,  Vicema  in  1404,  Padua  and 
Verona  in  1405,  Cividale  in  141'',  Udine  in  1420,  Brescia  in  1426,  Bergamo  in 
1428,  Creina  in  1454,  and  Rovigo  in  1484.  In  the  market-places  of  these 
towns  the  lion  of  St.  Mark  was  erected  as  a  token  of  their  subjugation,  and 
Venetian  nobles  were  appointed  their  governors.  The  disti'ict  thus  con- 
quered extended  to  about  13, 2(H)  sq.  M.,  besides  the  Dalmatian  possessions 
(4250  sq.  M.)  and  the  settlements  in  the  Levant.  Napoleon  at  length  over- 
threw the  Republic,  which  had  long  been  in  a  tottering  condition.  On 
15th  and  16th  May,  1797,  Venice  was  occupied  by  French  troops  under 
Baraguay  d^IIilliers,  this  being  the  first  occasion  on  which  it  had  ever 
been  captured  by  an  enemy.  In  the  Peace  of  Campoformio  (1797)  it  was 
adjudged  to  Austria,  but  by  the  Peace  of  Pressburg  in  1805  the  Austrians 
were  compelled  to  cede  it  to  Italy.  On  the  fall  of  Napoleon  it  was  again 
awarded  to  Austria,  but  in  1866  it  was  finally  incorporated  with  the  Kingdom 
of  Italy. 

41.  Verona. 

Railway  Stations:  (1)  Stazione  Porta  Vescovo  (PI.  I,  6;  rail,  restaurant, 
D.  incl.  wine  S'/a  fr.,  very  fair),  the  principal  station,  about  V/->  M.  to  the  E. 
of  the  Piazza  Viltorio  Emannele.  —  (2)  Stazione  Porta  Nuova  (PI.  B,  6), 
3/<  M.  to  the  S.W.  of  the  Piazza  Vitt.  Emanuele,  where  the  hotel-omnibu.ses 
await  the  trains  fr(jm  Tyrol,  Milan,  and  Bologna  (lujigago  is  not  booked  by 
express-trains  from  this  station).  —  (3)  Stazione  Porta  >San  Giorgio  (PI.  E,  1), 
for  the  line  to  Domegliara  (p.  22)  and  Garda  (p.  280).  —  Town  Agency,Via, 
Nuova  18;  Sleeping  Car  Co's  Agent,  the  Station  Inspector  (Controllore),  at 
the  railway-station. 

Hotels  (see  p.  xix).  Grand  Hotel  de  Londkes  et  Rotal  Dkdx  Tours 
(PI.  b;  F,  3),  Corso  Sant'  Anastasia,  with  steam-heating  and  covered  court, 
R.  5-7,  B.  IV2-2,  d«5j.  3-3'/'.!,  I».  5-7,  omn.  1,  luggage  V2  fr. ;  Gk.  Hot. 
CoLOMBA  n'Ouo  (Pl.e;  D,  3),  Via  Colomba,  near  Piazza  Vitt.  Emanuele, 
R.  S'/j-li,  B.  I'/'j,  dej.  3,  D.  41/2,  omn.  l-l'/z  fr..  genirally  well  spoken  of.  — 
Less  pretentious  (with  trattorie):    Hotel  Riva  San  Lorenzo  (PI.  d;  U,  3), 

16* 


24:4:   Route  41.  VERONA.  Practical  Notes. 

agreeably  situated  on  the  Adige,  Riva  San  Lorenzo,  E.  from  21/2,  B.  l'/4, 
oinn.  1  t'r.,  frequented  by  Germans;  Acoadkuia  (PI.  g;  E,  3),  "Via  Nuova, 
with  steam -heating,  R.  from  2,  omn.  3/4  fr. ;  EunopA  ed  Aquila  Neka 
(PI.  f;  E,  3),  in  the  narrow  Via  delle  Quatro  Spade,  R.  21/2-3,  omn.  l-l'/i  fr. ; 
Regina  d'Ungh£Kia  (PL  c  ;  E,  3),  near  the  Piazza  Erbe,  with  a  small  garden, 
R.  I'/i-S'/i,  omn.  3/4  fr. ;  Alb.  Centhale,  Piazza  Erbe  21,  R.  2  fr. ;  Alb. 
RisTOK.  ALLA  ScALA  DEI  Mazzanti  (PI.  h;  E,  3),  Via  Mazzanti,  near  the 
Piazza  Erbe,  K.  from  li/2fr. ;  Alb.-Ristok.  all'  Antica  Fekkata,  Via  Teatro 
Filarmonicn  (PI.  C,  4),  R.  from  l'/:;  fi'- ;  ToKCOLO,  Via  Torcolo  (PI.  E,  4,  5), 
R.  from  11/2  fr. ;  these  four  unpretending. 

Cafes-Restaurants.  Vittorio  Emanuele,  much  frequented,  Europa,  both 
in  the  Piazza  Vitt.  Emanuele;  Dante,  Piazza  de'  Signori,  expensive  for 
strangers. —  Birrerie  (p.  xxiii).  Rtataurant  Bavarese  i62iie;j6?*aM,  Piazza  Vitt. 
Emanuele  SO;  Franziskaner,  Piazza  Erbe  35;  Birreria  ^cm  Zeno,  Rigaste 
Sau  Zeno  3  (PI.  B,  2,  3),  with  garden  and  Veronese  beer. 

Banks.  Banca  d'llalia,  Corso  Cavour  11 ;  Bcmca  CommerziaU  Italiana, 
Piazzetla  Scala  1;  Banca  di  Verond,  Via  San  Sebastiano  1;  Banca  Fopotare, 
Corfe  Nogara  8.  —  Photographs:  0.  Benatelli,  Via  Ponte  Garibaldi  5; 
G.  A.  Bi-essanini,  Via  Gran  Czara;  F.  Codugnato,  Via  S.  Andrea  9,  etc. 

Baths:  G.  Griinwald,  Corso  V^ilt.  Emanuele  10;  Al.  Zaniboni,  Via  Pitta 
Vecchia  14 ;  Bagno  San  Luca  (PLC,  4),.Curso  Vitt.  Emanuele  8,  near  the  Portoni. 

Post  and  Telegraph  Office  (PL  F,  3)  in  the  Piazza  dell'  Indipendenza; 
braneh-iiffice  in  the  Via  Teatro  Filarmonicu  (PL  C,  4). 

Theatres.  Teatro  Filarmonico  (PL  C,  4;  p.  250),  performances  in  winter 
only;  Foliteama  (PL  E,  F,  3j,  Piazza  Navona  (rebuilt  1905-6);  Teatro  Bistort 
(PL  B,  C,  4).  —Music  un  Thurs.  &  Sun.  evening  in  the  Piazza  Vitt.  Emanuele. 

Cabs  ('Broughams'').  Per  drive  75  c,  per  hour  IV2  fr. ,  each  addi- 
tional hr.  1  fr.  25  c.;  in  the  evening  (i.e.  after  the  lamps  are  lit)  30  c. 
per  hr.  more.  From  station  to  town  1  fr.  Trunk  25  c.  —  For  each  pers. 
above  two,  one-third  more. 

Tramways  (10  c,  in  the  early  morning  5  c.).  1.  From  the  Stazione 
Porta  Vescovo  (PL  I,  6)  via  Piazza  Erbe  (PL  E,  3),  and  Piazza  Vitt.  Emanuele 
(PL  D,  4),  to  the  Stazione  Porta  Nuova  (PL  D,  B).  —  2  (under  construction). 
From  Castel-  Vecchio  (PL  C,  3)  to  Porta  San  Zeno  (PL  A,  1).  —  Omnibus 
(10  c.)  from  the  Piazza  Erbe  to  the  Stazione  Porta  San  Giorgio  (PL  E,  1). 

The  Sights  of  Veroua  may  be  seen  in  one  day  and  a  half.  Ist  Day. 
Morning :  Fiazza  Erbe  and  Fiazza  de"  Signori  (p.  24(J) ;  Tombs  of  the  Sea- 
tigers  (p.  ^47) ;  Corso  Cavour  (p.  249);  Arena  and  Piazza  Vittorio  Emanuele 
(p.  249);  drive  to  the  Forta  del  Falio  (p.  250),  San  Bernardino  (p.  25  ),  and 
San  Zeno  (p.  251).  Afternoon:  SanC  Anastasia  (p.  247);  Cathedral  {p.  248); 
San  Giorgio  in  Braida  (p.  255);  Santa  Maria  in  Organo  (p.  254);  Oiardino 
Giusti  (p.  254).  Evening:  Via  Nuova  (p.  252).  —  2nd  Day.  San  Fermo 
Maggiore  (p.  252) ;  Falazzo  Fompei  (p.  253).  —  Excursion  to  San  Michele, 
see  p.  25G.  —  Incldsive  Tickets  (biglietto  camulativo;  2  fr.)  may  be  ob- 
tained at  the  station-restaurant  and  the  chief  hotels,  admitting  to  all 
the  municipal  places  of  interest  (Tower  of  the  Municipio,  Tombs  of  the 
Scaligers,  Amphitheatre,  Juliet's  Tomb,  Museo  Lapidario,  Museo  Civico, 
and  Roman  theatre). 

Verona  (180  ft.},  the  capital  of  a  province,  with  61,600  inhab. 
and  a  garrison  of  6000  men,  lies  on  both  hanks  of  the  rapid  Adtge. 
which  has  been  enclosed  by  high  embankments  since  1895.  A 
fortress  of  the  first  class,  and  seat  of  the  commandant  of  the  3rd 
Army  Corps,  it  is  the  most  important  and  beautiful  toi^n  of  the 
Venetian  'terra  ferma'.  In  1527  et  seq.  Verona  was  surrounded  with 
new  walls  and  bastions  by  Sanmicheli.  After  it  came  into  the  pos- 
session of  the  Austrians  in  1814  it  was  again  strongly  fortified,  and 
along  with  Peschiera,  Mantua,  and  Legnago  formed  the  famous 
'Quadrilateral',  the  chief  support  of  Austrian  rule  in  Italy  until  1866. 


History.  VERONA.  41.  Route.    245 

Verona  has  an  extensive  trade  in  agricultural  produce  and  some 
manufactures.  Twice  a  year  it  is  the  scene  of  a  horse-market, 
lasting  for  a  week  from  the  second  Mon.  in  March  and  October. 

Fonnded  by  the  Rhaetians  and  Enganeana,  and  afterwards  occupied  by 
the  Celtic  Cenomani,  Verona  was  made  a  Roman  colony  in  B.C.  89,  and 
became  one  of  the  moat  prosperous  towns  of  Upper  Italy.  Its  castle  of  San 
Pietro  was  a  residence  of  the  Ostrogoth  TVieodoric  the  Great,  the  'Dietrich 
of  Bern'  (i.e.  Verona)  of  German  lore  (d.  526).  In  568  the  town  was  taken 
by  the  Lombard  king  Alboin  ,  who  fell  a  victim  to  the  vengeance  of  his 
wife  Rosamunde,  daughter  of  the  conquered  ruler  of  Verona,  whom  he 
had  forced  to  drink  wine  out  of  her  father's  skull.  The  Prankish  monarchs 
Pepin,  and,  after  the  Carlovingian  epoch,  Berengarius  /.,  ruled  here.  Verina 
afterwards  headed  the  league  of  Venetian  cities  against  Frederick  Barba- 
rossa.  During  the  fierce  contests  between  Guelphs  and  Ghibellines  the 
terrible  Ezzelino  da  Romano  (p.  2S0)  endeavoured  to  establish  a  lordship 
at  Verona.  In  1260,  the  year  after  Kz/.elino's  death,  Mastino  delta  Scala, 
another  Ghibelline,  was  elected  Podesta.  The  Scaligers,  the  great  princes 
of  his  house,  inaugurated  a  glorious  period  for  the  city.  Mastino  was  assas- 
sinated in  12n,  but  his  brother  and  successor  Albert  (1277-1301)  secured 
the  supremacy  of  his  line.  Romeo  and  Juliet  are  said  to  have  loved  and 
died  in  the  reign  of  Albert's  son  Bartolomeo  (1301-04).  The  greatest  member 
of  this  illustrious  family  was  Can  Francesco,  or  ^Can  Grande  /.' (1312-29), 
who  captured  Vicenza  and  subdued  Padua  after  a  long  struggle.  His 
brilliant  court  numbered  Dante  among  its  guests.  Mastino  II.  (1329-511 
at  first  conquered  Brescia,  Parma,  and  Lucca,  but  his  rule  was  afterwards 
restricted  to  Verona  and  Vicenza  by  a  league  formed  by  Florence, Venice, 
and  Milan.  Can  Grande  II.,  his  successor,  was  murdered  by  his  brother 
Can  Signorio  in  1359;  and  in  1387  the  latter's  son  Antonio,  who  had  also 
endeavoured  to  secure  his  possession  by  fratricide,  was  expelled  by  Giovanni 
Galeazzo  Visconti,  Lord  of  Milan.  Through  the  widow  of  Visconti  the 
town  passed  in  1405  to  the  Venetiant,  to  whom,  with  short  interruptions, 
it  remained  subject  down  to  the  end  of  the  Republic. 

In  the  history  of  Architectdee  Verona  is  important,  both  on  account  of 
its  mediseval  buildings,  and  as  the  birthplace  of  F}-a  Giocondo  (1435-1515), 
one  of  the  most  famous  architects  of  the  early  Renaissance,  whose  works 
are  to  be  found  at  Venice,  Paris,  Treviso  (fortifications),  and  Rome,  and  as 
the  home  of  Mic/iele  SfinmichelHii&i-i55d),  who  sought  to  unite  the  beauty 
of  the  Doric  order  with  the  grim  strength  of  military  fortifications  and 
adorned  the  city  with  a  series  of  sumptuous  edifices.  In  judging  of  the 
Verona  palaces,  we  must  bear  in  mind  that  it  was  customary  here,  as  at 
various  other  towns  of  the  Venetian  'terra  ferma',  to  adorn  the  facades 
with  paintings.  The  painted  facades  of  houses  near  San  Fermo,  by  the 
Porta  Borsari,  in  Piazza  Erbe,  and  others  partly  recall  the  Paduan  style 
of  the  15th  century.  —  The  earlier  Veronese  Painteks  of  the  second  half 
of  the  14th  cent,  were  superior  especially  in  colouring  to  the  Florentine 
school  of  Giotto  and  held  themselves  clear  of  its  influence.  The  chief 
of  these  masters  was  AUichiero,  to  whom  is  ascribed  the  fresco  in  Sant' 
Anastasia  (p.  247),  the  only  monument  of  the  period  in  Verona  (other  fres- 
coes in  Padua,  see  pp.  273,  275).  A  new  period  of  importance  began  in  the 
15th  century.  Among  the  chief  masters  were  Vittore  Pisano  (ca.  1380  1451), 
the  celebrated  medallist;  IJ'ierale  da  Verona  (1451-1536),  e'pecially  note- 
worthy for  his  miniatures;  Domenico  (h.  1442)  and  his  son  Franc.  Morone 
(1474-1556);  Francesco  Carolo  (1470-1546);  Girolamo  dai  libri  (1474-1556); 
and  Paolo  Morando,  surnamed  Cavazzola  (1486-1522).  Bonifazio  del  Pilali 
(14S7-1553),  thoufih  a  native  of  Verona,  flourished  mainly  in  Venice.  On 
the  other  hand  Paolo  Caliari.  surnamed  Veronese  (I528-8S),  also  resident 
in  Venice,  owed  his  artistic  development  mainly  to  the  influence  of  his 
native  place.  —  In  the  history  of  Sculpture  Verona  also  holds  a  place 
of  some  importance,  as  is  evidenced  by  the  Romanesque  reliefs  on  the 
facade  of  San  Zeno  (p.  251).  the  font  of  San  Giovanni  in  Fonte  (p.  248), 
and  the  Gothic  monnments  of  the  Scaligers  (p.  247). 

Comp.    'The  Story  of  Verona',  by  the  Hon.  Alethea  Wiel  (1902). 


246    Route  41.  VERONA.  a.  Right  Bank 

a.    Quarters  on  the  Bight  Bank  of  the  Adige. 

The  *PiAzzA  Eebb  (pi.  E,  3),  the  ancient  forum,  now  the  fruit 
and  vegetable  market,  is  one  of  the  most  picturesque  squares  in  Italy. 
The  Marble  Column  (1524)  at  the  N.  end  bears  the  lion  of  St.  Mark, 
a  modern  copy  of  the  ancient  cognisance  of  the  Republic  of  Venice. 
Opposite  is  the  Pal.  Trezza  (formerly  Maffef),  built  in  the  baroque 
style  in  16G8,  with  a  curious  spiral  staircase  in  the  interior.  The 
Casa  Mazzanti,  at  the  corner  to  the  right,  originally  the  residence  of 
Alberto  dclla  Scala  (d.  1301),  is  adorned  with  frescoes  by  Cavalli, 
an  imitator  of  Giulio  Romano.  The  Fountain,  dating  from  the  time 
of  Berengarius  I.,  is  adorned  with  a  statue  of  'Verona',  partly  an- 
tique. On  the  houses  opposite  are  frescoes  by  Liberale  da  Verona 
(Coronation  of  the  Virgin,  Adam  and  Eve)  and  Girolamo  dai  Libri 
(Madonna  and  saints).  In  the  centre  of  the  Piazza  is  the  Tribuna, 
with  its  canopy  borne  by  four  columns,  anciently  the  seat  of  judg- 
ment. The  Casa  dei  Mercanti  (1210),  at  the  corner  of  Via  Pelliciai, 
recently  restored,  now  contains  the  Chamber  of  Commerce.  Oppo- 
site rises  the  Torre  Civica,  or  Tower  of  the  Municipio,  273  ft.  in 
height,  affording  a  fine  view  (ascent  from  the  court  of  the  Palazzo 
della  Ragione,  see  below,  laborious ;  adm.  50  c).  —  A  short  street 
to  the  left  of  the  latter  leads  to  the  handsomely  paved  — 

*PiAzzA  DEI  SiGNOEi  (PI.  E,  F,  3),  ou  the  W.  side  of  which  is 
the  old  Palazzo  de'  Oiureconsulti,  founded  in  1263,  but  rebuilt  in 
the  16th  century.  —  On  the  S.  side,  immediately  to  the  right  of 
the  tower,  is  the  so-called  Palazzo  della  Ragione,  the  old  Court  of 
Justice,  founded  in  1193,  and  later  much  altered ;  the  court (Mercato 
vecchio)  contains  a  grand  flight  of  steps  of  the  beginning  of  the 
16th  century.  —  Adjoining  the  pinnacled  tower  is  the  Tribunale, 
and  on  the  E.  side  of  the  piazza  is  the  Prefettura,  formerly  residences 
of  the  Scaligers.  The  original  architecture  is  seen  to  best  advantage 
in  the  courts,  which  have  been  restored.  The  portal  of  the  Pre- 
fettiira  is  by  Sanmicheli.  —  At  the  N.E.  corner  of  the  piazza  stands 
the  — 

*Palazzo  del  Consiglio,  or  Old  Tovm  Hall,  usually  called  La 
Loggia,  one  of  the  finest  buildings  in  N.  Italy  in  the  early-Renais- 
sance style ,  erected  in  1476-93  ,  probably  from  designs  by  Fra 
Giocondo,  originally  with  statues  surmounting  the  facade  (restored 
in  1873).  By  the  door  are  two  bronze  statues  by  Girol.  Campana, 
representing  the  Annunciation.  Over  the  door  is  the  inscription, 
placed  here  by  the  Venetians  :  'Pro  summa  fide  summus  amor  1592'. 
Above  are  statues  of  celebrated  ancient  Veronese  :  Cornelius  Nepos, 
Catullus,  Vitruvius,  the  younger  Pliny,  and  .(Emilius  Macer,  the  poet 
and  friend  of  Virgil.  On  the  wall  are  busts  of  famous  modern 
Veronese.  On  the  upper  floor  are  several  tastefully  restored  rooms 
(custodian  in  the  court). 

The  entrances  to  the  Piazza  dei  Signori  are  spanned  by  archways. 
Above  the  arch   next  the  Loggia  is  a  portrait  of  the  physician  and  poet 


oftheAdige.  VERONA.  41.  Route.   247 

Oirol.  Fracastoro  (d.  1553)  by  Daneae  Catianeo  (1559);  in  the  W.  corner  is 
a  J<lcUue  of  Scipione  Maffei,  "the  historian  (1675-1755).  Behind,  in  the  Via 
Mazzanti,  are  a  picturesque  Fountain  of  1478  and  the  Volto  Barbara,  nnder 
which  Mastino  della  Scala  is  said  to  have  been  assassinated  in  1277. 

In  the  centre  of  the  piazza  rises  a  Statue  of  Dante  (by  Zannoni, 
1865) ,  who  found  his  first  asylum  here  with  Eartolomeo  della 
Scala  after  his  banishment  from  Florence  in  1303. 

The  passage  adjoining  the  Tribunal  leads  to  the  ancient  church 
of  Santa  Maria  Antica  (restored  in  the  original  style),  with  Roman- 
esque campanile,  and  the  imposing  *Tombs  of  the  Scaligers  [Arche 
Scaligere;  PI.  F,  3),  the  stern  Gothic  forms  of  which  immortalise 
the  masculine  genius  of  the  dynasty.  The  ladder,  their  crest,  often 
recurs  on  the  elaborate  railings. 

Over  the  church-door  are  the  sarcophagus  and  equestrian  statne  of  Can 
Grande  Prima  della  Scala  (d.  1329);  adjoining  it,  the  wall-monument  of 
Giovanni  della  Scala  (d.  1350)  and  the  sarcophagus  oi  Mastino  I.  (d.  1277). 
Kf-xt  to  the  Piazza  Signori  is  the  monument  of  Mastino  II.  (d.  1351),  another 
sarcophagus  veith  canopy  and  equestrian  statue.  The  similar  monument 
at  the  opposite  corner  of  the  street,  executed  by  Bonino  da  Campione  (much 
restored  in  190i)  for  Can  Signorio  (A.  1375)  during  his  life-time,  is  em- 
bellished v?ith  statues  of  Christian  heroes  and  virtues.  The  sarcophagi 
between  these,  bearing  the  same  crest,  have  no  names.  (The  custodian 
lives  in  a  house  to  the  right  of  the  church;  fee  25c.  each  person.) 

A  little  to  the  S.E.,  amid  the  grounds  of  the  Piazza  dell'  Indipen- 
denza  (PI.  F,3),  rises  an  Equestrian  Statue  of  Garibaldi,  in  bronze, 
by  Bordoni  (1887). 

We  now  proceed  to  the  N.  to  the  Corso  Sant'  Anastasia,  at 
the  E.  end  of  which  rises  *Sant'  Anastasia  (PI.  F,  2),  a  fine  Gothic 
Dominican  church  begun  about  1201,  with  unfinished  brick  facade, 
a  portal  in  marble,  with  reliefs  of  the  life  of  Peter  Martyr,  and  a 
fresco  of  the  14th  cent,  in  the  lunette. 

The  Interior,  borne  by  12  columns,  is  remarkable  for  boldness  and 
symmetry  of  proportion,  and  for  the  late-Gothic  decoration  of  the  vaulting 
(1437).  On  the  first  column  to  the  left  is  an  ancient  capital,  used  as  a 
Holij  Water  Basin,  supported  by  a  hump-backed  dwarf  ( Goi>bo)  attributed 
to  Gabriele  Caliari,  father  of  Paolo  Veronese.  I'y  the  first  altar  to  the  right 
is  the  monument  of  Fregoso,  the  Venetian  general,  by  Danese  Cattaneo 
(1505).  Above  the  3rd  altar  are  an  Entombment  and  other  frescoes  by 
Libtrale  da  Verona.  The  frame-work  of  the  4th  altar  is  an  imitation  of 
the  ancient  Arco  de'  Gavi  in  the  Castel  Vecchio,  removed  in  1S05;  altar- 
piece,  St.  Martin  by  Caroto.  The  next  small  chapel  contains  excellent 
early-Kcnaissance  ornamentation;  a  painted  group  of  the  Entombment,  by 
Giunesello  de  Falgaria  (14th  cent.);  a  wooden  crucifix  of  the  15th  cent.  ; 
and  a  fine  iron  lamp.  —  In  the  right  transept,  St.  Paul  by  Cavazzola,  and 
Bladonna  with  saints  by  Oirolamo  dai  Libri,  in  an  elegant  frame.  —  In 
the  second  chapel  of  the  choir,  on  the  right,  are  'Frescoes  by  Alliehiero, 
Knights  of  the  Cavalli  family  kneeling  before  the  Virgin.  The  adjoining 
Capp.  Pellegrini  (on  the  left)  contains  terracotta  reliefs  from  the  life  of 
Christ,  probably  by  Basso,  an  assistant  of  Donatello  (p.  481);  on  the  out- 
side, above  the  arch  at  the  entrance  is  a  fresco  of  >t.  George  and  the 
Dragon  (the  principal  figure  much  damaged),  by  Vittore  Pisano.  —  In  the 
choir,  to  the  left,  is  the  painted  monument  of  General  Sarego  (d.  1432), 
by  Rosso,  with  an  equestrian  statue  of  the  deceased  in  the  middle  and 
squires  withdrawing  a  curtain  at  the  side.  Behind  the  high-altar  are 
some  fine  early  Renaissance  stalls  with  intarflia  work.  —  In  the  adjoining 
Cappella  Lavagnoli  (right)  are  frescoes,   by  Benaglio,  of  the   Miraculous 


248   Route  41.  VERONA.  a.  Right  Bank 

Draught  of  Fishes,  the  Crucifixion,  and  Christ  preaching  by  the  Lake  of 
Galilee  (Lago  di  Garda  in  the  background).  —  The  left  transept  contains 
frescoes  of  the  14th  cent.,  and  a  picture  by  Liberate,  Mary  Magdalen  in 
clouds.  —  Above  the  4th  altar  (frnm  the  entrance)  in  the  left  aisle.  Descent 
of  the  Holy  Ghost  by  Oioljino  (1418);  above  is  the  same  subject  'al  fresco' 
by  Michele  da  Verona.  At  each  side  are  four  statues  of  saints.  Over  the 
2nd  altar,  Christ  V7ith  SS.  Erasmus  and  George,  by  Oioljino.  Over  the 
1st  altar,  painted  sculptures  by  Michele  da  Verona  (about  1500). 

In  front  of  the  cliurch  is  a  martle  Statue  of  Paolo  Veronese,  by 
Torquato  della  Torre  and  R.  Cristani,  erected  in  1888. 

To  the  left  of  the  church,  over  a  gateway,  is  the  marble  sarco- 
phagus of  Count  Guglielmo  da  Castelbarco,  the  Scaligers'  friend, 
at  whose  expense  the  churches  of  Sant'  Anastasia  and  San  Fermo 
were  in  great  part  built;  and  in  the  gateway  are  three  others  (14- 
15th  cent.).  —  The  church  of  Sail  Pietro  Martire,  formerly  San 
Oiorgio  Piccolo,  contains  a  curious  allegorical  fresco  by  Giov.  Maria 
Falconetto:  Madonna  enthroned  with  kneeling  Teutonic  knights 
(about  1515);  key  at  the  adjacent  Collegio  Provinciale.  — We  now 
proceed  to  the  right  to  the  — 

Cathedral  (^Duomo;  PI.  F,  1,2),  a  Romanesque  structure  of  the 
12th  cent.,  the  nave  and  the  Gothic  windows  of  the  facade  dating 
from  the  15th.  Behind  the  columns  and  griffins  of  the  handsome 
portal  are  Roland  and  Oliver,  the  paladins  of  Charlemagne,  in  rough 
relief,  executed  according  to  the  inscription  by  Nicolaus  (1135). 
On  the  outside  of  the  apse  are  pilasters  with  an  architrave,  in  the 
antique  style.  Beside  the  cathedral  rises  an  unfinished  campanile, 
designed  by  Sanmicheli,  resting  upon  an  ancient  basis. 

The  Interior  consists  of  nave  and  aisles,  with  eight  red  marble 
pillars.  The  walls  adjoining  and  above  the  first  three  altars  on  the  right 
and  left  are  adorned  with  decorative  painting  by  Falconetto  (about  1603). 
Above  the  elegant  rood-loft  of  marble,  designed  by  Sanmicheli,  is  a  bronze 
crucifix  by  Oiamhattisla  da  Verona.  The  Adoration  of  the  Magi,  over  the 
2nd  altar  to  the  right,  is  by  Liberate  da  Verona,  with  wings  by  Qiolfino. 
At  the  end  of  the  right  aisle  is  the  Tomb  of  St.  Agatha,  a  Gothic  mon- 
ument of  1353  enclosed  in  beautiful  Renaissance  frame-work  (1508).  In 
the  choir  are  frescoes  from  the  life  of  the  Virgin,  executed  by  Torhido 
from  drawings  by  Qiulio  Romano.  —  Over  the  1st  altar  on  the  left,  'Assump- 
tion by  Titian,  about  1525  (frame  by  Sansovino) :  'striking  for  its  masterly 
combination  of  light  and  shade  and  harmonious  colours  with  realistic 
form  and  action''    (C.  <i:  C). 

To  the  left  of  the  choir  a  corridor  leads  to  San  Giovanni  in 
Fonte,  the  ancient  Baptistery,  of  the  12th  cent. ;  excellent  Roman- 
esque reliefs  on  the  font  (12th  cent.);  to  the  right  of  the  choir. 
Madonna  enthroned  with  two  saints  and  donor,  altar-piece  by 
Caroto  (1513).  —  To  the  left  of  the  facade  (2nd  door  on  the  left) 
are  Romanesque  Cloisters,  the  arches  resting  on  double  columns  of 
red  marble.  They  contain  an  antique  column  and  some  ancient 
mosaics  (covered).  —  To  theN.E.  of  the  cathedral  is  the  Vescovado 
(PI.  F,  1),  or  bishop's  residence,  with  a  chapel  containing  three 
paintings  by  Liberale  da  Verona,  Madonna  by  Franc.  Morone,  and 
Raising  of  Lazarus  by  Franc.  Caroto  (1531).  -—  The  Palazzo  dei 
Canonici,  to  the  N.W.  (No.  19),  contains  the  Biblioteca  Capitolare 


oftheAdige.  VERONA.  41 .  Route.    249 

with  its  precious  MSS.,  among  which  Niebuhr  discovered  the  In- 
stitutes of  Gains.  (Adm.  in  the  forenoon.)  —  The  adjacent  Pon<e 
liaribaldi  (PI.  E,  1;  toll  2  c.),  a  suspension -bridge,  leads  to  the 
church  of  San  Giorgio  in  Braida,  in  Veronetta  (see  p.  256). 

We  now  follow  the  Lungadiqb  Panvinio  (Pi.  E,  D,  2),  a  broad 
quay  ascending  along  the  right  bank  of  the  Adige,  with  a  view  of 
the  mountains  of  the  Lago  di  Garda,  and  soon  turn  to  the  left,  to 
visit  the  church  of  Sant'  Eufemia  (PI.  E,  2,  3),  a  Gothic  structure 
of  the  13th  cent.,  with  Madonnas  by  Morelto  fist  altar  on  the  left; 
injured)  and  Dom.  Brusasorci  (3rd  altar  on  the  right).  *Frescoes 
(story  of  Tobias  etc.),  by  Caroto,  in  the  Gappella  Spolverini,  to  the 
right  of  the  choir  (injured). 

A  few  paces  to  the  S.  of  Sant'  Eufemia  is  the  Conso  Porta 
BoRSARi,  which  begins  at  the  Piazza  Erbe  and  leads  to  the  Porta 
de'  Borsari(Pl.  D,  3),  a  town-gate,  erected  under  Emp.  Gallienus, 
A.  D.  265,  in  the  poor  later  Roman  style. 

To  the  W.  this  Corso  is  prolonged  by  the  Corso  Cavour  (PI.  D, 
C,  3),  one  of  the  chief  streets  of  Verona,  in  which  several  handsome 
palaces  are  situated.  Immediately  to  the  right  (No.  10)  is  the  Gothic 
Palazzo  Ponzoni  (formerly  Pal.  de'  Medici).  Farther  on,  to  the  left, 
in  a  small  piazza,  is  the  church  of  Santi  Apostoli  (PI.  D,  3),  with 
very  ancient  tower  and  Romanesque  apse.  In  front  of  it  stands  a 
marble  statue  of  Aleardo  Aleardi,  the  poet  and  patriot  (1812-78).  — 
Also  on  the  left  (No.  19)  is  the  handsome  *Pal.  Bevilacqua,  by 
Sanmicheli,  now  a  technical  institute.  —  Opposite  is  the  small 
church  of  San  Loeknzo  (11th  cent.  ?),  a  Romanesque  edifice,  with 
round  towers  on  the  facade.  The  interior,  restored  In  1896-98,  has 
galleries  supported  alternately  by  pillars  and  columns.  There  are 
remains  of  many  old  frescoes,  and  in  the  apse  is  an  altar-piece  by 
Dom.  Brusasorci (IbQG').  —  Then,  on  the  right,  No.  38,  Pal.  Portalupi, 
and  No.  44,  Pal.  Canossa,  also  by  Sanmicheli,  with  a  fine  portico 
and  court,  but  with  an  attica  added  in  1770. 

The  neighbouring  Piazzetta  di  Castel  Vecchio  (PI.  C,  3)  affords 
a  picturesque  view  of  the  imposing  pinnacled  Bridge  of  the  14th 
cent.,  which  connects  the  Castel  Vecchio  (PI.  C,  3),  the  castle  of 
Can  Grande  II.  (14th  cent.),  now  a  barrack,  with  the  Borgo  Trento 
on  the  left  bank  of  the  Adige  (open  to  passengers  during  the  day). 

From  the  Castello  to  San  Zeno,  see  p.  251.  The  Stradone  San 
Bernardino  leads  to  the  W.  to  San  Bernardino  (p.  250),  while  the 
Corso  is  prolonged  to  the  S.W.  to  the  Porta  del  Palio  (p.  250). 

To  the  S.  of  the  Corso,  and  connected  with  it  by  several  streets, 
lies  the  Piazza  Vittorio  Emanuele  (PI.  D,  4)  formerly  Piazza  Brit 
or  Braida  (from  'pratum\  meadow),  with  an  equestrian  Statue  of 
Victor  Emmanuel  II.  On  the  N.  side  of  the  piazza  is  the  Pal.  Malfalti 
(formerly  Pal.  Guastaverza),  by  Sanmicheli. 

On  the  E.  side  of  this  piazza  rises  the  famous  Roman  *Amplii- 
theatre  (Arena;  PI.  D,  4),  erected  under  Diocletian  about  A.  D.  290, 


250   Route  41.  VERONA.  a.  Right  Bank 

and  known  in  German  lore  as  the  abode  of  Dietrich  (Theodoric)  of 
Bern,  105  ft.  in  height,  168  yds.  long,  and  134  yds.  wide.  Of  the 
outer  wall  with  its  four  stories  a  fragment  only  now  exists. 

Around  the  lNTEBioB(entr.  from  the  W.  side  by  arcade  No.  V;  adm.  I  fr., 
Sun.  free;  closed  at  sunset;  guide  superfluous)  rise  43  tiers  of  steps  of  grey 
or  reddish-yellow  limestone  (often  restored  since  the  end  of  the  16th  cent,, 
and  partly  modern),  on  which  20,000  spectators  could  sit.  An  inscription 
on  the  second  story  commemorates  the  visit  of  Napoleon  I.  in  1805,  and  the 
restoration  carried  out  by  his  order.  Fine  view  from  the  highest  steps. 
Two  doors  at  the  ends  of  the  longer  diameter  afforded  access  to  the  arena 
itself  (82  by  48  yds.). 

On  the  E.  side  of  the  Arena,  in  the  small  Piazza  Mura  Gallieno, 
a  fragment  of  the  Late-Roman  City  Wall  has  been  preserved. 

To  the  S.W.  of  the  Arena  stands  the  Municipio  (PI.  D,  4 ;  formerly 
a  guard-house),  begun  in  1836,  which  bears  several  memorial  tablets 
relating  to  political  events  and  to  the  inundation  of  1882. 

The  wide  Via  Pallone,  beginning  behind  the  Municipio,  leads  to  the 
S.E.,  skirting  the  Mediaeval  City  Wall  of  the  Visconfi  period  (now  used 
as  barracks),  to  the  Ponte  Aleardi  (PI.  E,  6;  toll  2c)  and  the  Cimitero  (p.  254). 

A  little  to  the  S.  of  the  Via  Pallone,  on  the  Campo  della  Fiera  (PI. 
D,  E,5,  G;  horse-markel),  which  occu|jie9  the  site  of  a  Franciscan  monastery, 
is  a  chapel  (1899;  adm.  50  c.)  containing  a  medieval  sarcophagus  called 
the  Tomba  di  Oiulietta.  or  -Tomb  of  JulieC.  The  whole  scene  is  prosaic 
and  unattractive.  Shakespeare's  play  of  'Romeo  and  Juliet'  is  founded  on 
events  which  actually  occurred  at  Verona.  'Escalus,  Prince  of  Verona'  was 
Bartolomeo  della  Siala  (d.  1304).  The  house  of  the  Capuletti ,  Juliet's 
parents,  see  p.  252. 

The  "W.  side  of  the  Piazza  Vitt.  Emanuele  is  occupied  by  the 
Oran  Guardia  Vecchia  (PI.  D,  4 ;  now  the  corn-market),  or  old  guard- 
house, begun  in  1609  by  Dom.  Curtoni.  Adjacent  are  the  Portoni, 
an  old  gateway  with  a  tower,  probably  another  fragment  of  the  city- 
wall  of  Giov.  Galeazzo  Visconti. 

In  the  courtyard  of  the  Teatro  Filarmonico,  built  by  Franc.  Galli 
da  Bibbiena  (d.  1739),  is  the  Musko  Lapidario,  or  Museo  Maffeiano 
(PI.  0,  4),  formed  by  Scipione  Maffei  (p.  247),  containing  Roman, 
Greek,  and  Oriental  inscriptions,  and  ancient  sculptures  (under  the 
porticus  of  the  theatre  to  the  left,  on  the  wall,  728.  .^sculapius 
and  Hygieia,  an  Attic  votive  relief,  4th  cent.  B.C. ).  Visitors  ring 
at  the  iron  gate  beside  the  Portoni  (adm.  50  c). 

Pa.ssing  through  the  Portoni,  we  reach  the  Corso  Vitt.  Ema- 
nuele (Pi.  C,  B,  4,  5),  in  which  is  a  Statue  of  Michele  Sanmicheli, 
'grande  nella  architettura  civile  e  religiosa,  massimo  nella  militare'. 
At  the  end  of  the  Corso  rises  the  handsome  Porta  Nuova  (PI.  B,  6), 
by  Sanmicheli.  Outside  this  gate  are  the  Stazione  Porta  Nuova 
(p.  243),  the  Candle  Industriale,  or  Adige  Canal,  completed  in  1888, 
and  several  factories. 

From  the  Porta  Nuova  an  avenue  leads  to  the  N.W.  to  the 
*Porta  del  Palio  (formerly  Porta  Stuppa;  PI.  A,  4),  by  Sanmicheli, 
once  admired  by  Goethe.  Outside  the  gate  is  the  moat  of  the  fortress, 
the  bridge  over  which  affords  a  fine  view.  —  We  now  follow  the 
Stradone  di  Porta  Palio  and  theVicolo  San  Bernardino  on  the  left  to  — 


oftheAdige.  VERONA.  41.  Route.    251 

San  Bernardino  (PI.  A,  3),  of  the  15th  cent.,  formerly  a  mon- 
astery-cbnrch.  We  enter  from  the  E.  angle,  through  the  pretty 
cloisters.  Aho^e  the  door  to  the  left  of  the  church  is  a  fresco, 
St.  Bernardino,  by  Cavaezola  (If  the  church-door  be  closed,  ring  in 
the  corner  to  the  left). 

Interior.  1st  chapel  on  the  right:  Frescoes  of  legendary  subjects  by 
Oiolfino.  —  2nd  altar  on  the  right,  Madonna  and  saints  by  Bonsxgnori 
(1485).  —  4th  chapel  on  the  right:  Domen.  Morone.,  ceiling-frescoes  and 
life  of  St.  Anthony  (restored).  —  5th  chapel :  on  the  altar-wall,  copies  from 
Cavazzola  (in  the  Museum) ;  above,  Christ  on  the  Cross  and  SS.  John  and 
Mary,  by  Fr.  Morone  (1498);  on  the  left,  Christ  parting  from  his  mother  by 
Caroto,  and  three  paintings  from  the  Passion  by  Qiolfino.  —  At  the  end  to 
the  right  is  the  entrance  to  the  'Cappella  Pellegrini,  by  Sanmickeli  (1557, 
restored  1793),  with  beautiful  Renaissance  decoration.  —  In  the  choir,  to 
the  left,  Madonna  with  saints,  by  Benaglio.  —  Organ  of  1481.  On  the 
organ-doors  are  SS.  Bernardino  and  Francis,  and  (over  the  portal)  SS. 
Bonaventnra  and  Lodovico ,  by  Fr.  Morone.  —  The  Cloisters  and  one 
of  the  chapels  contain  frescoes  by  Giolfino  (early  works).  —  In  the  Re- 
fectory of  the  mnna.'itery,  formerly  the  library,  frescoes  by  Dom.  Morone, 
accessible  only  from  the  street. 

To  theN.  of  this  point  lies  *SanZenoMaggiore  (PI.  A,  2;  reached 
by  the  Vicolo  Lungo  San  Bernardino  or  by  following  the  embank- 
ment on  the  Adige,  -with  its  fine  views,  to  the  N.W.  of  the  Castel 
Vecchio,  p.  249),  one  of  the  finest  Romanesque  churches  in  N.  Italy, 
of  most  noble  proportions,  restored  since  1870.  The  interior  of  tliis 
flat-roofed  basilica,  which  dates  from  the  11th  cent.,  is  supported 
by  alternate  columns  and  pillars.  The  nave  in  its  present  form  was 
begun  in  1138;  the  choir  dates  from  the  13th  century. 

The  PouTAL,  the  columns  of  which  rest  on  lions  of  red  marble,  is 
embellished  with  reliefs  of  Scriptural  subjects  by  Nicolaus  and  Wiligelmxts 
(1139).  Below,  to  the  right,  Theodoric,  as  a  wild  huntsman,  is  speeding 
headlong  to  the  devil.  At  the  top  of  the  door-posts  are  the  twelve  months. 
The  doors  are  covered  with  rude  bronze  reliefs  from  the  Bible  and  the 
life  of  St.  Zeno,  probably  the  work  of  German  artists  (lt-12th  cent  ). 

Interior.  In  the  corner  to  the  right,  an  ancient  octagonal  font;  behind 
it,  a  fresco  of  St.  Zeno  (14th  cent.).  The  holy-water  basin,  by  the  ist  column 
on  the  right,  rests  on  an  inverted  antique  capital.  Opposite  is  an  ancient 
porphyry  vase,  28  ft.  in  circumference;  beyond  it,  a  fine  Gothic  crucifix. — 
On  the  Choir  Screen  are  marble  statues  of  (Christ  and  the  Apostles  (ca.  1200), 
still  retaining  traces  of  colouring.  On  the  vi'all  below  are  ornaments  and 
figures  in  coloured  low  relief.  —  To  the  left  of  the  choir,  frescoes  of  the 
14th  cent.,  under  which  are  traces  of  others  of  the  12th;  to  the  right, 
frescoes  of  the  Uth  and  13th  centuries.  To  the  right  of  the  steps  to  the 
choir  is  an  altar,  flanked  with  columns  of  brown  marble,  resting  on  a  lion 
and  a  bull.  To  the  right,  above,  is  a  painted  marble  figure  of  St.  Zeno 
(d.  380),  a  fisherman  and  afterwards  Bishop  of  Verona,  ascribed  to  the 
9th  century.  Gothic  choir-atalls.  Behind  the  high-altar,  to  the  right,  is  an 
admirable  "Picture  (covered)  by  Manlegna  (1459) :  Madonna  enthroned, 
with  angels  and  saints  ;  on  the  left,  SS.  Peter,  Paul,  John,  and  Augustine ; 
on  the  right,  SS.  John  the  Baptist,  Gregory,  Lawrence,  and  Benedict,  in 
solemn  attitude  and  full  of  individuality,  with  remarkably  rich  acces- 
sories. (The  predella  pictures, are  copies.)  —  The  spacious  Crypt  contains 
the  tasteful  bronze  tomb  of  St.  Zeno,  from  designs  by  the  brothers  Spazzi 
(1889),  with  seated  figures  of  Religion,  Faith,  Hope,  and  Charity. 

The  lofty  battlemented  Tower  on  the  N.  side  of  the  church,  and  the 
Clois/ere  with  elegant  double  columns,  are  the  last  relics  of  a  convent 
(suppressed  in   1770)   repeatedly  inhabited   by  the  medijeval  German  em- 


252    Route  41.  VERONA,     n.  Right  Bant;  of  the  Adige. 

perors  on  their  journeys  to  Rome.  On  the  top  floor  of  the  tower  are 
some  old  Romanesque  wall-paintings,  and  in  the  cloisters  is  a  small 
museum  of  Christian  antiquities  (fee  to  the  well  informed  sacristan,  '/a-l  fr.). 

To  the  N.W.  of  S.  Zeno  is  the  Porta  San  Zeno  (PI.  A,  1),  erected 
in  1540  by  Sanmicheli. 

"We  now  return  from  the  Piazza  Vitt.  Emannele  (p.  2491  to  the 
N.E.  to  the  Piazza  Erbe  by  the  narrow  Via  Nuova  (PI.  D,  E,  4,  3), 
tlie  chief  thoroughfare  of  the  city  since  1391  (corso  in  the  evening). 

In  the  Via  Scala,  one  of  the  S.  side-streets  of  the  Via  Nuova,  is  the 
church  of  iSanta  Maria  delta  Scala  (PI.  E,  3),  with  an  early-Renaissance 
portal  and  frescoes  of  the  school  of  Stefano  da  Zevio  (in  the  bell  chamber, 
to  the  right  of  the  high-altar).  —  This  street  is  prolonged  by  the  Via 
San  Cosimo,  at  No.  8  in  which  (Marc.hese  Fumanelli)  is  a  good  replica  of 
Seb.  del  Piombo"s  so-called  'Dorothea'  at  Berlin. 

In  the  Via  CappelI/O,  through  which  the  tramway  runs  S.  from 
the  Piazza  Erbe  (PI.  E,  3),  an  old  house  (13th  cent.;  Nos.  19-25) 
on  the  left,  now  belonging  to  the  town,  bears  a  marble  tablet  which 
is  said  to  indicate  the  house  of  Juliet's  parents  (Capuletti ;  p.  250). 
The  street  then  takes  the  name  of  Via  San  Sebastiano  (PI.  E,  3,  4), 
in  which,  adjoining  the  church  of  San  Sebastiano  (PI.  F,  4),  is  the 
Biblioteca  Comunale  (open  in  winter  9-3  and  6-9,  in  summer  9-4, 
on  Sun.  and  holidays  9-12),  founded  in  1860,  and  containing 
numerous  records. 

In  the  Via  Lboni  (PI.  F,  4),  the  prolongation  of  the  same  street, 
on  the  left,  immediately  beyond  No.  3,  is  the  Arco  de'  Leoni,  part 
of  a  Roman  double  gateway,  coeval  with  the  Porta  de'  Borsari 
(p.  249),  but  of  superior  execution,  bearing  an  inscription  partially 
preserved.    Behind  it  are  remains  of  a  still  older  arch. 

Near  this  is  the  Gothic  church  of  San  Fermo  Maggiore  (PI.  E, 
F,  4),  built  at  the  beginning  of  the  14th  cent,  for  the  Benedictines 
and  afterwards  transferred  to  the  Franciscans.  The  interesting  facade 
is  enriched  with  brick  and  marble.  On  the  left  side  of  the  facade 
is  the  sarcophagus  of  Fracastoro  (d.  1 350),  physician  of  Can  Grande  I., 
with  ancient  Veronese  frescoes  (14th  cent.). 

The  Interior,  entered  by  the  left  side-door  (visitors  knock),  has  no 
aisles.  Part  of  it  is  modernised.  Fine  old  roof  in  larch-wood.  Above 
the  main  entrance  is  a  fresco  of  the  14th  cent.,  the  Crucifixion,  in  poly- 
chrome frame.  To  the  left  is  the  monument  of  the  Brenxoni,  with  sculp- 
tures by  the  Florentine  Rosso  (p.  247;  1420);  above  is  a  much  damaged 
fresco  by  Viiiore  Pisano,  the  Annunciation.  —  Ist  altar  on  the  left,  three 
saints  by  Giambatiista  del  Moro.  —  Over  the  side-entrance,  fresco  of  the 
Crucifixion  (i4th  cent.) ;  in  the  chapel  to  the  left.  Altar-piece  by  Caroto 
(1525),  Madonna,  St.  Anna,  and  the  Child  in  clouds,  with  four  saints  below. 
—  In  an  adjoining  space,  behind  a  railing, is  the  monument  of  the  physician 
Gir.  della  Torre,  by  Riceio  (the  bronze  reliefs,  now  in  the  Louvre,  are  here 
replaced  by  copies).  —  Chapel  on  the  left  of  high-altar,  St.  Anthony  with 
four  other  saints,  by  Liberate  da  Verona.  —  3rd  altar  on  the  right  in  the 
nave,  Trinity,  Madonna  in  clouds,  Tobias  and  tlie  angel,  and  a  saint,  by 
Franc.  Torbido.  —  Near  the  marble  pulpit  (1396)  are  frescoes  by  Mariino 
da  Verona. 

From  the  sacristy  steps  lead  down  to  the  Lower  Church,  an  inter- 
esting Romanesque  edifice  (1030),  adorned  with  frescoes. 


b.  Left  Bank  of  the  Adiye.     VERONA.  41.  Route.   253 

b.  Left  Bank  of  the  Adige  (Yeronetta). 

The  Via  Leoni  ends  at  the  iron  Ponte  delle  Navi  (Pi.  F,  4), 
which  was  erected  in  1893  on  the  site  of  two  stone  bridges  destroyed 
by  inundations  of  the  Adige  in  1757  and  1882.  It  affords  a  good 
survey  of  the  choir  and  transept  of  SauFermo,  and  also  up  the  river 
to  the  Castello  San  Pietro  (p.  255).  —  A  little  way  above  the  bridge, 
on  what  was  formerly  an  island,  stands  the  spacious  church  of  San 
ToMMAso  {¥1.  F,  G,  3,  4),  without  aisles,  and  vnth  open  roof,  con- 
taining a  Hue  altar-piece  by  OItoI.  dai  Libri;  SS.  Sebastian,  Rochus, 
and  Job  (last  altar  on  the  right). 

Just  below  the  bridge,  on  the  Lungadige  Porta  Vittoria,  is  the 
*Palazzo  Lavezzola  Fompei  (PI.  F,  5),  erected  by  Sanmicheli  about 
1580.  It  now  belongs  to  the  town  and  since  1854  has  contained 
the  MusEo  Civico  (open  in  summer  9-4,  in  winter  9-3,  on  holidays 
from  10  a.m. ;  adm.  1  fr.),  which  has  been  enlarged  and  rearranged 
since  1904.    Director,  Prof.  P.  Sgulmero.    No  catalogue. 

Gkodsd  Floor.  In  the  three  front  rooms  to  the  right  of  the  entrance 
are  prehistoric  antiquities  from  the  lake-dwellings  of  the  Lago  di  Garda, 
from  the  country  round  Verona,  and  from  the  Eugansean  liills,  and  Roman 
anti'iuities  from  the  province  of  Verona.  —  In  the  I.  Court,  Roman  altars 
;ind  tombstones;  in  the  passage  into  ihe  II.  Court,  Medifsval  sculptures 
and  architectural  fragments.  The  two  adjacent  rooms  on  the  right  contain 
natural  history  collections  (tine  fossils  from  Monte  Bolca).  —  In  the  II.  Court, 
Roman  architectural  fragments,  inscriptions,  and  marble  sculptures. 

The  '^Pinacoteca  or  picture-gallery,  on  the  first  floor,  contains  works 
chietly  of  the  Veronese  school.  Veronese  masters  :  Stefano  da  Zevio,  Ma- 
donna in  a  rose-garden;  Oiov.  BadiU,  Madonna  and  saints;  Girol.  Benaglio, 
Madonna  and  saints;  Franc.  Benaglio,  Madonna;  Liberate  da  Verona,  Ador- 
ation of  the  Magi,  St.  Sebastian,  Descent  from  the  Cross;  Franc.  Bonsignoi-i, 
Madonna,  Madonna  enthroned  with  saints  (1484) ;  Giov.  Maria  Falconetto, 
Legendary  scenes;  Jf^icc.  Giolfino,  Madonna;  Franc.  Caroio,  Madonna  and 
Adoration  of  the  Holy  Child  (early  works),  St.  Catharine,  Christ  washing 
the  disciples'  feet,  with  the  Madonna  and  David  in  the  clouds,  Tobias 
and  the  three  archangels,  Holy  Family  (under  Giulio  Romano's  influence); 
"Franc.  Morone,  Trinity  with  John  the  Baptist  and  Mary,  Madonna,  St. 
Catharine  and  the  donor;  'Girol.  dai  Libri,  Adoration  of  the  Child,  with 
richly  detailed  landscape.  Madonna  enthroned,  with  SS.  Rochus  and 
Sebastian.  Baptism  of  Christ,  Madonna  in  clouds,  with  SS.  Andrew  and 
Peter,  Holy  Family  with  Tobias  and  tbe  angel  (fine  landscape ;  1530); 
'  Cavazzola,  Holy  Family  (early  work) ;  Si.  Bouaveutura, Christ  and  St.  Thomas, 
with  Descent  of  the  Holy  Spirit  and  As.eusion  in  the  Ijackgrouud,  Five 
scenes  from  the  Passion, "from  San  Bernardino,  1517  (Scourging  of  Christ 
and  Christ  crowned  with  thorns,  Gethsemane,  Descent  from  the  Cross, 
with  the  Adige  and  the  Castello  San  Pietro  in  Ihe  background,  Bearing 
of  the  Cross),  Madonna  with  angels,  saints,  and  donor  (1522),  also  from 
San  Bernardino,  the  master's  last  work,  recalling  the  school  of  Ferrara 
in  its  colouring;  Franc.  Torbido,  Tobias  and  the  angel. —  Also  numerous 
miniatures  by  Liberate  da  Verona,  Girol.  dai  Libri,  and  others,  and  frescoes 
by  Martina  da  Verona,  Franc.  Morone  (Baptism  of  Christ,  with  medallions 
of  the  Evangelists,  Madonna  with  four  saints),  and  others. 

Venetian  masters:  Jac.  Bellini,  Crucifixion  (restored);  "Carlo  Crirelli, 
Madonna  and  angels  (an  early  work);  Giov.  Heltini.  Madonna  (an  early 
work);  F.  Veronete,  Portrait  of  Pasio  Guarienti  (155B),  Madonna  with  saints 
and  donors.  Entombment ;  Gioo.  Bait.  Zelotti,  Allegory  of  music  (fresco).  — 
There  are  also  a  few  Dutch  and  German  work.s  (Style  of  Attdorfer,  Portrait 
of  the  Vicar  Kolb).  —  Two  .«ide-rooms  contain  ongraviugs,  and  medallions 
by    Vitt.  Piiano  and  others. 


254    Route  41.  VERONA.  6.  Left  Bank 

To  the  S.  of  the  Porta  Vittoria  (PI.  E,  5)  is  the  Cimitero,  laid 
out  on  a  grand  scale,  with  its  cypress  avenue  and  handsome  gateway 
adorned  with  groups  in  marhle  by  Spazzi.  In  the  interior  are  Doric 
colonnades,  a  lofty  dome-church,  and  a  number  of  large  monuments 
in  marble.    It  is  open  till  sunset. 

Opposite  the  cemetery  is  the  Ponie  Aleardi  (PI.  E,  6),  leading  to  the 
Via  Pallone  and  the  Piazza  Vitt.  Emanuele  (p.  249).  —  The  avenue  on  the 
left  bank  of  the  Adige  leads  to  the  Railicaij  Bridge,  which  affords  a  fine 
survey  of  the  town  and  environs,  and  from  which  we  may  return  to  the 
Porta  Nuova  (p.  250). 

In  the  Via  Venti  Settembre,  to  the  E.  of  the  Ponte  delle  Navi, 
rises  San  Paolo  di  Campo  Marzo  (PI.  F,  5),  which  contains  Ma- 
donnas with  saints  by  Girolnmo  dai  Libri  (3rd  altar  to  the  right), 
P.  Veronese  (right  transept),  and  Bonsignori  (to  the  left).  Over  the 
high-altar,  Madonna  between  SS.  Peter  and  Paul  by  Giov.  Caroto. 

Farther  to  the  E.  is  the  Vicolo  Fiumicello,  leading  to  the  left 
along  a  brook  to  Santi  Nazzaro  e  Celso  (PI.  H,  4),  an  originally 
Gothic  church  rebuilt  in  the  Renaissance  style  about  1500. 

In  the  right  transept,  two  "Paintings  on  panel,  John  the  Baptist,  and 
SS.  Benedict,  Nazarius,  and  Celsus,  by  Bart.  Montagna.  A  Pieta  and 
St.  Blaise  with  St.  Juliana,  in  the  sacristy,  are  by  the  same  artist.  In 
the  choir  are  frescoes  by  Farinato.  In  the  Cappella  di  San  Biagio  (left 
transept)  is  an  altar-piece.  Madonna  and  saints,  by  Bonsignori  (1519),  in 
a  fine  old  frame  (accessories  by  Oirol.  dai  Libri,  1527);  in  the  altar-niche, 
frescoes  by  Bart.  Montagna  (history  of  St.  Blaise;  much  damaged);  in 
the  dome,  faded  frescoes  by  Palconetto  (1493). 

Hence  we  proceed  to  the  N.,  through  the  Via  Muro  Padri,  to  the 
Via  Giardino  Giusti,  No.  10  in  which,  to  the  right,  is  the  entrance 
to  the  Pal.  Giusti  and  the  *Giardino  Giusti  (PI.  G,  H,  3,  4;  ring  at 
a  gate  on  the  right  in  the  court;  20-30  c.  to  the  gate-keeper).  This 
beautiful  park  contains  numerous  cypresses,  some  of  them  400-500 
years  old  and  130  ft.  in  height.  The  loftily  situated  view-terrace 
(ascent  through  the  turret  at  the  back  of  the  garden)  commands  a 
beautiful  view  of  Verona,  the  distant  Apennines,  Monte  Pizzocolo, 
and  the  Brescian  Alps  (evening-light  favourable). 

A  little  to  the  N.E.,  in  the  wide  Interrato  dell'  Acqua  Morta,  the 
filled-in  canal  that  till  1895  separated  the  island  of  the  Adige  from 
Veronetta,  lies  Santa  Maria  in  Organo  (PI.  G,  3),  a  very  ancient 
church,  rebuilt  by  Sanmicheli  in  1481,  with  unfinished  facade  of  1592, 

Intekior  (if  main  portal  is  closed,  try  side-door  in  the  Via  Santa  Maria 
in  Organo).  In  the  nave  are  'Frescoes  by  Frarie.  Morone,  representing 
(right)  Adam  and  Eve,  the  Flood,  Abrahams  Sacrifice,  Joseph  sold  by  his 
Brethren,  (left)  Passage  of  the  Ked  Sea,  Moses  receiving  the  Tables  of  the 
Law,  David  and  Goliath,  Elijah  in  the  Fiery  Chariot.  Third  altar  on  the 
left.  Madonna  and  Child,  with  SS.  Martin,  Augustine,  and  two  angelic 
musicians,  by  Morone  (1503) ;  4th  altar  on  the  left.  Madonna  with  saints,  by 
Savoldo  (1533).  Chapel  to  the  left  of  the  choir,  fresco  of  the  Resurrection  by 
Dom.  Brutasorci.  Tlie  seats  in  front  of  the  high-altar  are  embellished  with 
landscapes  by  Cavazzola  and  Brusasorci.  Behind  it  is  a  carved  ebony  and 
walnut  Candelabrum  by  Fra  Oiovanni  da  Verona,  who  belonged  to  the  mon- 
astery of  this  church.  'Choie  Stalls  with  intarsia  (views  of  the  town  above, 
ornamentation  at  the  sides  and  below),  of  1499,  by  the  same  master.  Chapel 
on  the  right  of  the  choir:  Ascension,  Shower  of  manna,  Passover,  frescoes 
by  Giolfino.    In  the  right  transept  are  an  altar-piece,  SI.  f  rancesca  Romana, 


oftheAdige.  VERONA.  41.  Route.    255 

by  Guercino  (1639),  and,  on  the  wall  in  front,  frescoes  by  Cavazzola 
(St.  Michael,  St.  Raphael  with  Tobias).  —  The  Sacbisty  contains,  on  the 
risht,  intarsias  by  Fra  Giovan?ii,  injured  by  water;  the  ceiling  and  friezes, 
with  half-length  'Portraits  of  monks  and  .saints,  are  by  Francesco  Morone; 
•Madonna  del  Limone,  by  Girol.  dai  Libri. 

From  the  end  of  the  Via  Santa  Maria  in  Orgauo  the  Via  San 
Giovanni  in  Valle  ascends  to  the  right  to  the  ancient  little  church 
of  San  Giovanni  IK  Valle(^P1.  G,H,  2),  a  flat-roofed  basilica,  borne 
by  columns  with  very  early  capitals.  Over  the  entrance  is  a  fresco 
by  Siefano  da  Zevio,  and  in  the  crypt  are  two  early-Christian 
sarcophagi.  —  The  Vlcolo  Borgo  Tascherlo  and  the  Via  Redentore 
lead  back  to  the  Adige. 

In  the  vicinity,  on  the  slope  of  the  hill  to  the  W.  below  the 
Castello,  lies  tlie  Roman  Theatre  l^Scavi  Monga;  PI.  G,  2),  which 
was  laid  bare  in  1904  by  pulling  down  26  houses.  Adm.  50  c.; 
custodian  at  Rigaste  Redentore  2,  where  tlie  objects  which  havo 
been  discovered  are  exhibited  in  three  rooms  on  the  first  floor.  — 
Above  the  theatre  is  the  little  church  of  Santi  Siro  e  Libera  (PI.  G,  2_), 
dating  from  the  time  of  Berengarius  I. 

Opposite  the  Ponte  della  Pietra,  of  which  the  two  arches  next 
the  left  bank  are  Roman,  begins  the  ascent  to  the  Castello  San 
Pietro  (PI.  G,  2;  permission  from  the  divisional  commandant"),  a 
modern  barrack  on  the  site  of  the  castle  of  Theodoric  the  Great 
(p.  245)  and  the  Visconti,  ruins  of  -which  are  still  traceable  behind 
the  Giardino  Francescatti  (PI.  G,  H,  2).  Splendid  view,  which, 
however,  is  almost  equally  good  from  the  terrace  before  the  entrance, 

A  few  paces  to  the  N.  of  the  bridge  is  the  venerable  church  of 
Santo  Stefano  (PI.  G,  Ij.  Facade  probably  of  the  11th  century.  The 
interior  has  a  flat  roof  and  a  raised  choir ,  at  the  back  of  which 
stands  the  bishop's  chair;  in  the  transept  are  pictures  by  Caroto  and 
D.  Brusasorci.  —  Hence  the  Via  Sant'  Alessio  leads  to  the  W.  to  — 

San  Giorgio  in  Braida  (PI.  F,  1 ;  entrance  usually  by  a  side- 
door  on  the  N. ),  a  church  reconstructed  in  the  16th  cent,  with  the 
aid  of  Sanmkheli.  The  interior  contains  an  admirable  collection  of 
well-preserved  paintings  by  Veronese  and  Brescian  masters. 

W.  wall,  over  the  door:  Tintoretto^  Baptism  of  Christ;  1st  altar  on  the 
left.  Franc.  Caroto,  St.  Ursula  (1545) ;  3rd  altar  on  the  left,  Caroto,  SS.  Rochus 
and  Sebastian,  with  predelle  (centre  tigure  of  St.  Joseph  modern);  above. 
The  Apostles  healing  a  possessed  man,  by  D.  Brusasorci;  in  the  lunette, 
Transfiguration,  by  Caroto;  4th  altar  on  the  left,  Girolamo  dai  Libri,  *Ma- 
donna  enthroned,  between  SS.  Zeno  and  Lorenzo  Giustiniani,  with  three 
Angels  with  musical  instruments  at  the  foot  (15'29);  5th  altar  on  the  left, 
Moretto,  'JIadonna  with  holy  women  (1540),  one  of  this  master's  best  works, 
with  delicate  colouring  in  a  silvery  tone.  At  the  sides  of  the  organ  and 
opposite,  Romanino  of  Brescia,  Martyrdom  of  St.  George  (1640),  originally 
the  panel  of  an  organ.  By  the  choir-pillars,  Caroto,  Annunci;ition.  To  the 
right  in  the  choir,  Farinato,  Miracle  of  the  Five  Thousand  (1603);  to  the  left, 
Ilru.iasorci,  the  Shower  of  manna.  High-altar-piece  (covered);  F.  Veronese, 
"Martyrdom  of  St.  George,  a  masterpiece  of  the  highest  rank,  in  which  the 
horrors  of  the  scene  are  mitigated  by  nobility  of  outline  and  richness  of 
colour.  4th  altar  on  the  right :  Brusasorci,  Madonna  with  archangels.  The 
beautiful  holy-water  basin  is  embellished  with  bronze  ligures  of  John  the 
Baptist  and  St.  George  by  Joseph  de  Zei-is  and  Angela  de  Jiubeis, 


256   Route  41.  VERONA. 

From  this  point  by  the  Porta  San  Giorgio  (1525)  and  the  adjoin- 
ing grounds  to  the  Ponte  Garibaldi  (Pi.  E,  1),  see  p.  249. 


Fkom  Vkrona  to  Cologna,  steam- tramway  in  2V4-3hr8.,  starting  outside 
the  Porta  Vescovo  (comp.  PL  I,  5).  —  2  M.  San  Michele,  the  birthplace  of 
the  architect  Michele  Sanmicheli  (p.  245),  with  tbe  round  church  of  Mudonna 
di  Cainpagna^  planned  by  him  (splendid  Alpine  view  from  the  dome).  About 
l'/2  M.  to  the  N.  rises  tbe  pinnacled  castlo  of  Moiitorio  (13th  cent.),  formerly 
the  property  of  the  Scaligers.  The  tramway  then  passes  San  Martina 
(p.  264).  Caldiero  (p.  264),  Soane  (p.  2G4),  San  Bonifacio  (p.  264),  and  Lonigo 
(p.  264),  at  the  W.  base  of  the  Monti  £erici,  and  reaches  the  little  town  of 
Cologna  Veneta,  the  inhabitants  of  which  are  busily  engaged  in  the  culture 
of  silk,  hemp,  rice,  and  vines.  The  lower  of  the  town-hall  and  the  ruined 
castle  dale  from  the  i3th  century. 

From  Caldiero  a  steam  -  tramway  runs  to  the  N.  in  the  Val  d^Illasi  to 
(71/2  M.)  Tregnago,  via  (I3/4M.)  Colognola  (580  ft.),  surrounded  in  antiquity 
by  Koman  villas,  and  (4V2  M.)  Jllasi,  the  church  of  which  contains  a  fine 
fresco  by  Stefano  da  Zevio  (Madonna  with  angels).  In  the  park  of  the  ad- 
jacent Villa  Perez-Pnmpei  is  a  ruined  medifevjd  castle.  71/2  M.  Tregnago 
(1015  ft. ;  rustic  inn),  has  a  ruined  castle  of  the  13th  century.  Thence  we 
may  proceed  to  the  JJ.E.  via  Croce  del  Venio,  Rancani  (2205  ft.),  and  Castelvero 
(1805  ft.)  to  (23/4  hrs.)  Vestma  Vecchia  (lli05  ft);  in  the  vicinity,  on  the 
Alpone,  are  some  massive  basalt  columns.  A  road  leads  hence  to  the  N.W. 
via  Vestena  Ntiova  to  (872  M.)  Bolca  (2925  ft.),  on  the  verge  of  the  Purga  di 
Bolca  (3060  ft.;  views),  an  ancient  crater.  The  surroundings  of  Bolca  are 
rich  in  fo.=sils. 

From  Tregnago  we  may  visit  also  the  E.  part  of  the  Tredici  Comuni, 
still  to  a  certain  extent  a  German- speaking  'enclave'  on  Italian  soil,  on 
the  S.  slope  of  the  Monti  Lessini,  the  extensive  ridge  between  the  valley  of 
the  Adige  and  the  Val  d'Astico  (p.  269).  The  chief  village  is  Giazza  (2485  ft.; 
Alb.  Faggioni),  IO1/2  M.  to  the  N.  of  Tregnago.  Excursions  (guide,  Dom. 
Gaule):  ascent  of  the  Cima  di  Posta  (p.  269;  7  hrs.);  over  the  Pusso  delta 
Lara  to  (6  hrs.)  Eecoaro  (p.  269j;  through  the  Val  dei  Bonchi  to  (6  hrs.J  Ala 
(p.  22). 

The  beautiful  Val  Pantena,  in  the  W^.  part  of  the  Tredici  Comuni,  is 
visited  from  Verona  direct :  diligence  of  the  Impresa  Salvetti  daily  to  (3  hrs.) 
Bellori  and  (6  hrs.)  Boseochiesanova;  carr.  10  fr.,  best  ordered  at  Bosco- 
chiesanova.  The  road  leads  via  the  smiling  villages  of  Quinto  (near  the 
Villa  Tbiene,  designed  by  Palladio),  and  a  little  to  the  W.  of  the  so-called 
Pantheon  (a  subterranean  Roman  temple  near  Santa  Maria  in  Stelle), 
Cuzzano,  Orezzana  (545  ft. ),  the  chief  place  in  the  valley,  with  an  interest- 
ing campanile,  and  Lngo  to  Bellori  (tolerable  inn),  where  it  forks.  The 
right  branch  leads  to  Boseochiesanova  (3620  ft.;  Alb.  Torre),  a  favourite 
summer-resort  of  the  Veronese  and  a  good  starting-point  for  mountain 
ascents  in  the  Monti  Lessini  (guide,  Simone  Faccio),  to  the  left  to  (2y4  M.) 
I'onte  di  Veia  (1975  ft.),  in  a  rocky  district.  A  footpath  leads  to  the  (1/4  hr.) 
natural  *Arch  of  the  same  name.     The  adjacent  caves  do  not  repay  a  visit. 

Another  Steam  Tramway,  starling  outside  the  Porta  Nuova  (comp. 
Pl.B,  6),  connects  Verona  with  (10  M.)  Zevio,  (I8V2M.)  Albaredo,  and  (221/2  M.) 
Cofiano. 

From  Verona  via  Dmnegliara  to  Qarda  and  Caprino,  see  p.  236. 

42.  From  Verona  to  Mantua  and  Modena 

(Bologna J  Florence). 

631/2  M.  Railway  in  2-4  hrs.  (fares  11  fr.  85,  8  fr.  30,  5  fr.  35  c. ;  express 
13  fr.  5,  9  fr.  15  c);  to  Mantua  (251/2  M.)  in  Vi-lVz  hr.  (fares  4  fr.  80,  3  fr. 
35,  2  fr.  15  c. ;  express  5  fr.  25,  3  fr.  70  c). 

Verona,  see  p.  243.  The  line  traverses  a  rich  plain,  dotted  with 


t  ?"■""•  B 


1  :  18.000 

100  200  300  4UU  500 


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tioograph-ATLstaU  Ton 


Wagner  &  l)el)es  ,r.cip 


iVfANTUA.  42.  Route.   257 

trees.    Near  Mantua  are  fields  of  rice.    Fine  Alpine  view.  —  7  M. 
Dossobuono. 

Dossobuono  is  the  junction  of  the  Veeona  and  Rovigo  Railway 
(62V2  M.,  in  3'/2-4  hrs.).  Stations  unimportant.  —  29  M.  Cerea  (p.  263).  — 
33'/2  51.  Legnayo,  a  town  of  2700  inhab.,  fortified  liy  the  Anstrians  after 
1815  to  defend  the  pas-'ajce  of  the  Adige,  is  also  a  station  on  the  Mantua 
and  Monselice  Hue  (p.  263).  It  was  the  birthplace  of  Giov.  Bail.  Cavalcaselle 
(lS27-y7),  the  art  critic.  —  62V2  31.  RovUjo,  see  p.  377. 

11  M.  Villafranca  di  Verona  (175  ft.;  Alb.  del  Sole),  with  a 
ruined  castle  (12th  cent.^,  where  the  preliminaries  of  a  peace  be- 
tween France  and  Austria  were  concluded  on  11th  July,  1859,  after 
the  battle  of  Solferino.  About  372  M.  to  the  N.W.  of  Villafranca 
and  5  ]\I.  to  the  S."W.  of  Sommacampagna  (p.  218)  lies  Custozza, 
where  the  Italians  were  dfifeated  by  the  Austrians  in  1848  and  1866 
(cliarnel-liouse).  —  23  M.  Sunt'  Antonio  Mantovano. 

The  train  now  passes  the  Citadel  of  Mantua,  where  Andreas 
Hofer,  the  Tyrolese  patriot,  was  shot  by  the  French  on  20th  Feb., 
18l0.  The  citadel  and  the  town  are  connected  by  the  Argine  Mu- 
lino  (a  mole  475  yds.  in  length),  which  divides  the  lakes  formed 
here  by  the  Miucio  into  the  Lago  Superiore  (W.)  and  the  Lago  di 
Mezzo  (E.). 

251/2  M.  Mantua.    Station  (PI.  A,  3)  to  the  W.  of  the  town. 


Mantua.  —  Hotels.  AquitA  d'Ono  (PI.  a;  B,  3),  Corao  Umberto 
Primo,  with  frequented  restaurant,  E.  2-2'/2.  omn.  ^ji-^ji  ft.;  Senoneb 
(PI.  b;  B,  3),  Via  della  Posia,  with  restaurant,  R.  2,  omn. '/4fr.,  plainer. — 
In  summer  the  mosquitoes  at  Mantua  are  troublesome. 

Cafes:  Caffi  alia  Posta,  C.  alia  Borsa,  C.  Veneziaito,  all  in  the  Corse 
Umbert.)  Primo. 

Photographs  at  PremCs,  opposite  the  Aquila  d"Oro. 

Post  &  Telegraph  Office  (PI.  B,  3),  Via  della  Posta. 

Cab  per  drive  75  c.  (at  night  1  fr.),  first  hr.  1  fr.  50  c,  each  following 
'/•J  hr.  50  c. 

Chief  Sights  (>,2-l  day):  Sanf  Andrea;  Cathedral;  Reggia;  Museo 
Civico;  Palazzo  del  Te.  The  hurried  traveller  should  engage  a  cab  at  the 
station  for  1  hr.,  drive  to  the  (12  min.)  Palazzo  del  Te,  which  may  be 
seen  in  '/2  br-j  «^nd  then  to  the  Piazza  Erbe  or  Piazza  Sordello. 

Mantua  (65  ft.),  Ital.  Mantova,  a  very  ancient  town  founded  by  the 
Etruscans,  with  31,100  inhab.  (3000  Jews),  is  a  provincial  capital. 
Its  situation,  bounded  on  the  N.W.  by  the  Lago  Superiore,  on  the 
N.E.  by  the  Lago  di  Mezzo,  on  the  E.  by  the  Lago  Inferiore,  and  on 
the  S.  and  S.W.  by  marshy  land,  is  unhealthy.  Since  the  Austrian 
re'gime  Mantua  has  belonged  to  the  Quadrilateral  (p.  244),  but  it 
is  probably  about  to  be  dismantled. 

Mantua  is  mentioned  as  the  home  of  Virgil,  who  was  born  at  the 
ancient  Andes  (3  M.  to  the  S.E.,  near  the  village  of  Pietole),  but  it  was  not 
a  place  of  importance  till  the  middle  ages.  In  1276  the  citizens  elected 
Pinamonte  Bonacolsi,  and  in  1328  Luigi  Gonzaga,  as  'Capitano  del  Popolo', 
and  to  the  dynasty  of  the  latter  the  town  owed  its  prosperity.  The 
Gonzagas  fonght  successfully  agaiust  Milan  and  Venice,  and  extended  their 
territory,  while  they  were  liberal  patrons  of  art  and  science.  Giovanni 
Francesco  II.  fl407-44),  the  first  marquis,  invited  the  learned  Vitlorino 
da  I'eltre  to  Mantua,  and  through  him  made  his  court  a  renowned  centre 

Baeoekbb.  Italy  1.  13th  Edit.  17 


258    Route  42.  MANTUA.  From  Verona 

of  culture  and  education.  He  was  succeeded  by  Lodocieo  III.  (1444-78). 
The  beautiful  and  accomplished  Isabella  d''Este  (1474-1539) ,  sister  of 
Alphonso ,  Duke  of  Ferrara,  and  mother  of  Eleonora  of  Uibino,  was 
the  wife  of  Giovanni  Francesco  III.  (1484-1519).  She  carried  on  a  lively 
correspondence  with  the  most  eminent  men  of  her  time,  and  with  judicious 
taste  collected  valuable  books,  pictures,  and  antiquities.  In  ib^Q  Federic/o  II. 
(1519-40)  was  raised  to  the  rank  of  duke  by  Charles  V.,  and  in  1536  he 
was  invested  with  the  marqnisate  of  Monteferrato;  a  monument  of  his  reign 
is  the  Palazzo  del  Te  (p.  262).  In  1627,  when  Charles  de  Nevers,  a  member 
of  a  French  collateral  line,  ascended  the  throne,  the  Mantuan  war  of 
succession  broke  out,  and  Emperor  Ferdinand  II.  declared  the  fief  forfeited. 
On  18th  July,  1630,  Mantua  was  stormed  and  sacked  by  the  Austrians. 
Although  the  emperor,  hard  pressed  by  the  Swedes,  was  obliged  to  con- 
clude peace  in  1631,  the  town  never  recovered  from  this  blow.  Carlo  /F., 
the  last  duke,  taking  the  French  side  in  the  Spanish  war  of  succession, 
was  declared  an  outlaw  in  1703 ;  Monteferrato  was  au  arded  to  Piedmont, 
and  Mantua  to  Austria.,  of  whose  supremacy  in  Italy  it  became  the  chief 
support.  After  a  long  and  obstinate  defence  by  General  Wurmser  the 
fortress  capitulated  to  the  French  on  2nd  February,  1797.  By  the  Peace  of 
Villafranca  the  Austrians  retained  Mantua  although  deprived  of  the  rest  of 
Lombardy,  but  they  were  compelled  to  cede  it  to  Italy  in  1866. 

In  the  history  of  Architectdke  Mantua  is  of  importance  on  account 
of  the  buildings  of  Leon  Battista  Alberti  (p.  470)  of  Florence,  who  had 
been  summoned  to  Mantua  by  lodovico  III.  —  Mantua  also  witnessed 
the  labours  of  several  great  Renaissance  Painters.  Andrea  Mantegna 
(p.  271)  entered  the  service  of  Lodovico  III.  in  1463.  In  vigour  of  con- 
ception and  in  the  fidelity  of  his  characters  he  rivals  his  best  contem- 
poraries, while  he  surpasses  them  in  accuracy  of  perspective  and  in  his 
refined  taste  for  beauty  of  landscape.  He  died  at  Mantua  in  1506,  and  was 
succeeded  as  court -painter  in  the  following  year  by  Lorenzo  Costa  (comp. 
pp.  380,  389).  When  Raphael's  pupils  were  dispersed  after  his  death 
(1520),  Giulio  Bomano  (1492-1546),  the  greatest  of  them,  settled  at  Mantua 
in  1524,  and  there  attained  so  high  a  reputation  as  an  architect  and 
painter,  that  Mantua  has  been  called  the  'town  of  Giulio  Romano'.  After 
the  example  of  Raphael's  work  in  the  Farnesina,  he  composed  mythological 
decorative  paintings,  which,  though  far  inferior  to  their  prototype,  attract 
by  the  richness  of  the  motives  and  sensuous  magnificence  of  composition, 
and  are  important  owing  to  the  influence  they  exercised  on  later  art. 
Francesco  Primaticcio  and  Niccolb  delV  Ahbate^  pupils  of  Giulio  Romano 
who  were  educated  here,  were  afterwards  summoned  to  Fontainebleau, 
and  thug  formed  a  link  between  the  French  and  the  Italian  Renaissance. 
Giulio  Romano's  works  must  also  have  influenced  the  style  of  Rubens,  who 
was  court-painter  at  Mantua  in  1600-8,  under  Vincenzo  II. 

From  tlie  railway-station  we  follow  the  quiet  Oorso  Vittorio 
Emanuele  (PI.  A,  B,  3),  and,  crossing  tlie  rapid  Rio,  which  unites 
the  Lago  Superiore  and  Lago  Inferiore,  enter  the  Corso  Umbbrto 
Primo  (Pi.  B,  G,  3;  formerly  Via  Sogliari),  to  the  arca.les  of  which 
the  traffic  of  the  town  is  chiefly  confined.  —  A  little  farther  on,  in 
the  small  Piazza  Andrea  Mantegna,  rises  — 

Sant'  Andrea  (PI.  C,  2,  3"),  a  building  of  imposing  proportions, 
and  the  most  important  church  in  Mantua.  It  was  begun  in  1472-94 
from  designs  by  Leon  Battista  Alberti;  the  transept  and  choir  were 
erected  in  1597-1600  by  Ant.  Viani ;  while  the  dome,  designed  by 
Fil.  Juvara,  was  not  added  till  1732-82.  The  white  marble  facade, 
with  its  spacious  portico,  is  conceived  in  the  style  of  a  classic 
temple  ;  adjoining  it  is  a  square  Gothic  tower  of  red  brick,  with  an 
elegant  octagonal  superstructure  (1414). 


to  Modena.  MANTUA.  42.  Iioute.    259 

The  Interior  (always  open),  110  yds.  in  length,  has  no  aisles  and  is 
covered  with  massive  barrel-vaulting,  the  sank  panels  partly  painted.  The 
Isi  Chapel  on  the  left  (clo'ed)  contains  frescoes  by  Franc.  Mantegna  (1516); 
the  tomb  of  the  painter  Andrea  Mantegna  (d.  150G),  with  his  bust  in  bronze 
by  Oianmnrco  Cavalli;  also  two  paintings  by  Mantegna,  Holy  Family  (in- 
jured), and  Baptism  of  Christ  (restored  in  1890).  —  2nd  Chap,  on  the  left: 
Madonna  enthroned  and  saints,  hy  Lorenzo  Costa  (1525;  much  damaged).  — 
Cappella  San  Loiigino  (bth  on  the  right):  Sarcophagus  with  the  inscription: 
'Longini  ejus,  qui  latus  Christi  pereussit,  ossa'.  The  frescoes,  designed  by 
Oiulio  Romano  (1534-35),  represent  the  Crucifixion;  below  is  Longinus;  on 
the  opposite  side,  the  iinding  of  the  sacred  blood,  of  which  the  saint  is 
said  to  have  brought  some  drops  hither  (now  preserved  in  the  crypt).  — 
The  Right  Transept  contains  the  monument  of  Bishop  Giorgio  Andreasi 
(d.  1549),  executed  in  1551  hj  Protpero  Clementi  (1551;  p.  362).  The  swan 
is  the  old  heraldic  emblem  of  Mantua.  —  Left  Transect.  Chapel  on 
the  left:  (right)  Monument  of  Pietro  Strozzi  (d.  1529),  brought  from  the 
former  Dominican  church,  with  caryatides,  designed  by  Giitlio  Romano  (best 
seen  from  the  middle  of  the  nave).  —  Choir  :  Martyrdom  of  St.  Andrew, 
a  fresco  by   Giorgio  Anselmi  (1775),  in  the  apse. 

The  S.E.  side  of  the  busy  Piazza  Erbe,  close  by,  is  occupied 
by  the  Torre  delV  Orologio  and  the  Gothic  Palazzo  della  Ragione 
(PI.  C,  3),  originally  of  the  13th  cent,  but  entirely  altered  since 
then.  On  the  N.E.  facade  of  this  palazzo,  in  the  little  Piazza 
Broletto,  is  an  ancient  relief  of  Virgil  (1220). 

A  little  farther  on  is  the  Piazza  Sordello  f  PI.  C,  D,  2),  in  the 
centre  of  which  rises  a  monument  to  the  political  martyrs  of  the 
year  18ol.  Here  are  situated  two  old  Gothic  palazzi,  crowned  with 
battlements,  both  long  in  the  possession  of  the  Bonacolsi  (p.  257), 
viz.  the  Palazzo  Cadenazzi  (12-13th  cent.),  -with  the  Torre  della 
Gabbia  (180  ft.),  named  from  the  iron  cage  on  the  S.W.  side,  and 
the  Palazzo  Castiglioni  (13th  cent).  Adjoining  the  latter  is  the 
Palazzo  Vescovile  (18th  cent.). 

The  Cathedral  of  Santi  Pietro  e  Paolo  (PI.  G,  D,  2) ,  with 
double  aisles  and  a  dome,  has  a  baroque  fai^ade  (1756)  and  an  un- 
finished Romanesque  tower  (12th  cent.).  The  interior,  skilfully 
remodelled  about  1545  by  6.  B.  Berlani  from  designs  by  Giulio 
Romano,  has  a  fine  fretted  ceiling ;  the  rows  of  chapels  flanking 
the  outer  aisles  are  domed.  On  the  left  of  the  entrance  is  an  ancient 
Romanesque  sarcophagus  (12th  cent.),  and  farther  on,  on  the  left, 
are  two  additions,  viz.  the  early-Renaissance  Cappella  dell'  Incoro- 
nata  and  the  Chapel  of  the  Sacrament  of  1652.  In  the  sacristy  is 
a  flue  missal  (15th  cent.). 

The  entire  quarter  between  the  Piazza  Sordello  and  the  Lago 
Inferiore  is  occupied  by  the  spacious  Reggia,  or  Corle  Reale 
(PI.  D,  2,  3),  originally  a  palace  of  the  Bonacolsi  (1302)  afterwards 
frequently  added  to  by  the  Gonzagas,  but  now  in  great  part  un- 
occupied. The  original  Gothic  fai^ade,  with  its  battlements,  is  still 
in  good  preservation.  The  original  splendour  of  the  palace  is  still 
represented  in  the  apartments  of  Isabella  d'Este  (p.  258)  as  well 
as  in  those  altered  for  Federico  II.  in  1525-31  by  Oiulio  Romano. 
The  elegant  decorations  in  the  classicist  style,  now  to  be  seen  in 

17* 


260   Route  42.  MANTUA.  From  Verona 

several  of  the  rooms  destroyed  by  the  Aiistrians  in  1630,  date  from 
the  reigns  of  Maria  Theresa  and  Joseph  II.  and  from  the  time  of 
the  viceroy  Eugene  Beauharnais  (p.  127). 

A  visit  to  the  palace  requires  not  less  than  1  hr.  The  custodian  is 
to  be  found  until  the  afternoon  under  the  second  large  arched  gateway 
to  the  left  (fee  1  fr.). 

Ground  Floor.  The  so-called  Scalcheria,  embellished  with  fine  gro- 
tesques and  frescoes  (hunting-scenes  with  Diana,  etc.),  by  Giulio  Romano,  is 
now  the  solitary  relic  of  the  Appartamento  delta  Grotta,  prepared  for 
Isabella  d'Este  and  once  filled  with  art-treasures. 

The  Upper  Floor  is  reached  by  means  of  a  handsome  staircase  dating 
from  1640.  The  Sala  dei  Dochi  is  hung  with  portraits  of  all  the  Gon- 
zagas.  —  The  Appaetamento  dell'  Imperatrice  was  altered  under  Maria 
Theresa  by  Gius.  Piermarini  (p.  166).  In  the  last  room  is  the  bed  used  by 
Eugene  Beauharnais  (1812).  —  The  adjoining  Sala  dei  Fidmi  is  embellished 
with  allegorical  figures  of  the  rivers  near  Mantua,  by  Giorgio  Anselmi 
(1175).  In  front  of  it  is  the  new  Giardino  Pensile,  or  hanging  garden.  — 
The  Sala  dello  Zodiaco  has  ceiling-paintings  of  the  signs  of  the  zodiac, 
by  Lor.  Costa  the  Younger;  the  mural  decorations  date  from  1808.  —  The 
Appartamento  dell'  Imperatore,  altered  for  Joseph  II.  in  1783  by  Paolo 
Pozzo,  has  been  tastefully  decorated  by  the  Mantuan  artists,  And.  Mones 
and  G.  B.  Afarconi.  On  some  of  the  walls  are  painted  copies  (by  Fel. 
Campi)  of  the  tapestry  brought  hither  by  Maria  Theresa  from  the  church 
of  Santa  Barbara.  The  tapestry  itself  (copies  of  Raphael's  tapestry  in 
the  Vatican)  is  now  in  Vienna.  Napoleon  I.  once  slept  in  the  first  room.  — 
The  Picture  Gallery  (Galleria  dei  Quadri)  contains  unimportant  paintings 
and  two  portrait-busts  l)y  Bernini.  —  The  Appaktaiiento  Dccale,  builtby .4n<. 
Yiani  under  Vincenzo  I.  (1587-1612),  is  at  present  empty.  —  The  "Apparta- 
mento DEL  Pakadiso,  ciinsi.sting  of  the  four  little  Camerini  of  Isabella 
d'Este,  is  interesting  for  its  early-Renaissance  decorations,  still  in  tolerable 
repair.  We  observe  here  particularly  the  intarsia,  the  beautiful  reliefs 
on  the  marble  door,  and  the  graceful  coffered  ceiling.  The  motto  of  the 
princess,  'nee  spe  nee  metu',  appears  several  times.  The  corner- room 
commands  a  charming  view  of  the  now  neglected  garden  and  of  the  Lago 
Inferiore.  In  the  last  room  are  some  remains  of  the  old  frieze  from  the 
Sala  dello  Zodiaco  (see  above).  —  The  sumptuous  Sala  degli  Specchi 
(room  of  mirror.9)  is  embellished  with  frescoes  by  pupils  of  Giulio  Romano.  — 
We  now  pass  through  the  Appabtajiento  di  Troia,  some  of  the  richly 
decorated  rooms  of  which  are  in  sad  disrepair:  Sala  di  Manto,  formerly 
a  banquet-room-,  Sala  del  Giuramento,  with  a  (restored)  fresco  of  Luigi 
Gonzaga  (p.  257)  receiving  (he  allegiance  of  the  people;  Sal;,  dei  Cimieri, 
with  charming  stucco  ornamentation  by  Fr.  Primaticcio  and  a  view  of 
the  Castello  di  Cirte,  Ponte  San  Giorgio,  Lago  Inferiore,  and  Lago  di 
Mezzo;  Sala  del  Trionfo  di  Giulio  Cesare,  so  called  from  the  series  of 
nine  paintings  by  Andrea  Mantegna,  now  at  Hampton  Court;  two  rooms 
with  elegant  grotesques  (adjoined  by  a  loggia  and  the  old  banging  garden); 
Stanza  del  Giove,  with  a  ceiling-painting  by  Giulio  Romano;  Sala  di  Troia, 
with  frescoes  by  Giulio  Romano  (poorly  restored  in  1846);  and  *Sala  dei 
Marmi,  tastefully  decorated  in  the  style  of  the  ancient  thcrmfe.  —  The 
Gallekia  della  Mostra,  at  one  time  occupied  by  the  natural  history 
museum,  retains  traces  of  its  old  ceiling- painting  by  Giulio  Romano.  It 
overlooks  the  Cavallerizza,  or  tournament-yard,  with  its  twisted  columns, 
also  designed  by  Giulio  Romano.  —  We  are  finally  conducted  to  the  Dwarfs' 
AFA^'iii.E'&Ts  (Appartamento  dei  Ifani),  adapted  to  the  size  of  their  inmates. 
—  The  Salone  dell'  Armeei'a,  the  meeting-place  of  the  council  of  Man- 
tua convened  by  Pius  II.  in  1459,  and  afterwards  an  armoury,  is  not 
usually  shown. 

The  vaulted  passage  near  the  N.E.  end  of  the  Piazza  Sordello 
leads  to  the  right  to  the  Piazza  Castello,  in  which  rises  the  Castello 
di  Corte  (F\.  D,  2),  the  old  castle  of  the  Gonzagas,  built  in  139o- 


to  Modena.  MANTUA.  42.  Route.    261 

1406  by  Bartolino  da  Novara.  The  castle  now  contains  the  ArcMvio 
Notarile  and  the  Archirio  di  Stato. 

The  Notarial  Archives  Ollice^  reached  by  the  staircase  on  the  left,  is 
open  (luring  office-hours  only  (9-4;  Sun.  &  holi'lays  9-12).  Most  of  the  fres- 
coes by  Ainlrea  Maiite</tia  which  once  adorned  this  part  of  the  castle  are 
obliterated,  hut  those  in  the  Camek.\  oekli  Si'osi  (1474),  which  are  among 
his  finest  creations,  were  badly  restored  in  1846.  Three  scenes  on  the 
entrance -wall  represent  'Lodovico  Gonzaga  meeting  his  son  Francesco 
(afterwards  cardinal)  on  his  return  from  Rome.  Above  the  door  is  a  tablet 
with  an  inscription,  borne  by  beautiful  putti  with  butterflies'  wings.  On 
the  other  wall  is  the  Family  of  the  Gonzagas  with  their  court:  on  the 
left,  Lodovico  Gonzaga  with  his  wife  Barbara.  On  the  ceiling  are  por- 
trait.'? of  Roman  emperors  in  grisaille;  in  the  spandrels  are  small  mytho- 
logical scenes;  and  in  the  centre  is  an  illusive  painting  of  an  apparent 
opening,  throui^h  which  Cupids  and  girls  gaze  down  into  the  room.  This 
last  was  the  model  for  all  subsequent  illusive  paintings  of  the  kind. 

The  upper  room's,  now  occupied  by  the  State  Archives,  were  used  by 
the  Auitriaus  as  a  prison  for  political  prisoners. 

In  the  little  Piazza  Santa  Barbara,  to  the  right  of  the  Piazza 
Castello,  and  belonging  to  the  same  imposing  pile  of  buildings,  is 
the  church  of  Santa  Baebaea  (PI.  D,  2),  a  handsome  Renaissance 
building  by  Giov.  Batt.  Bertani  (1565).  Over  the  high-altar,  the 
Beheading  of  St.  Barbara,  by  Dom.  Brusasorci.  By  the  same  master 
are  the  angel-musicians  on  the  wall  to  the  left  and  the  angels 
with  torches  on  the  right. 

To  the  N.W.  of  the  Piazza  Sordello  is  a  vast  space,  planted 
with  trees  and  bounded  by  the  Lago  di  Mezzo  on  the  N.  (drill- 
ground),  called  the  Piazza  Viegiliana  (PI.  C,  2),  with  a  hand- 
some arena,  the  Anfitentro  Virgiliano ,  beyond  which,  from  the 
parapet  towards  the  Lago  di  M(!zzo,  a  view  of  the  Alps  is  obtained. 

The  vaulted  passage  on  the  S.E.  side  of  the  Piazza  Broletto 
(p.  269)  leads  to  the  new  Piazza  Uante  Alighieei  (PI.  C,  D,  3), 
with  a  monument  of  Dante  (1871).  To  the  right  in  this  square  is 
the  — 

Palazzo  degli  Stum  (PI.  C,  3),  built  in  1763,  now  containing 
the  Library^  the  Archivio  Storico  Gonzaga,  and  the  *Museo  Civico, 
whicli  includes  a  number  of  interesting  antiques,  from  Sabbioneta 
(p.  263 ),  etc. ;  gratuity  1/.2-I  fr. 

The  museum  occupies  a  long  gallery  on  the  first  floor.  To  the  left  of 
the  entrance,  2.  Bust  of  youthful  infernal  deity  (so-called  Virgil);  9.  Mel- 
pomene; 16.  Sarcophagus-relief,  Revenge  and  (light  of  Medoa ;  26.  Torso 
of  a  boy  (so-called  Narcissus);  29.  Sarcophagus -relief,  Labours  of  Her- 
cules; yi.  Greek  tomb-relief,  funeral  supper  and  sacrifice;  36.  Female 
tOrso;  43.  Satyr  and  Nymph  (relief);  66.  Sarcophagus -relief,  destruction 
of  Troy ;  58.  Fragment  of  an  altar;  59.  Fragment  in  relief.  Two  satyrs 
with  musical  instruments  beside  an  altar;  65.  Fragment  of  a  statue  (so- 
called  Narcissus);  69.  Sarcophagus-reliefs  (marriage,  sacrifices,  and  bar- 
barians before  an  emperor).  —  In  the  adjoining  room,  on  the  right,  the 
so-called  'Seat  of  Virgir  and  inscriptions.  We  now  return  to  the  hall. 
End-wall,  148.  Greek  tomb-relief.  Side-wall,  161.  Late-Greek  tomb-relief 
with  a  man  and  wife;  adjacent,  158,  164.  Bacchic  reliefs,  probably  imi- 
tations of  antii|nes  executed  at  the  Kenaissauce  period;  16S.  Bust  of  /Ks- 
culapius;  174.  Relief,  Throne  with  attributes  and  eagle  of  Jupiter;  180. 
Torso  of  an  athlete;  184.  Roman  portrait-bust  of  the  time  of  the  Republic; 
186.  Fight  between  Romans  and  Gauls;    187.  Decorative  relief,   Dionysius 


262   Route  i2.  MANTUA.  From  Vtrona 

and  satyrs  at  the  vintage;  190.  Roman  poi-trait-bust  of  the  Republican 
period;  192.  Marcus  Aurelius  as  a  boy  wearing  the  cap  of  the  Salii;  194. 
l!ust  of  one  of  the  Dioscuri.  —  lu  the  centre,  *198.  Torso  of  Venus  (much 
damaged) ;  "210.  Apollo,  a  marble  copy  of  an  archaic  bronze  statue  in  the 
museum  at  Naples;  225.  Greek  sepulchral  urn;  237.  Statue  from  a  tomb 
of  a  youth  represented  as  Hermes.  —  At  the  end  of  the  window-wall, 
'276.  Greek  tomb-relief,  Youth  with  a  small  servant.  —  Opposite,  to  the 
right  of  the  door,  no  number,  Fine  bronnc  portrait-head  of  a  woman. 
Farther  to  the  left,  281.  Colossal  female  head;  287.  Bust  of  Homer;  292. 
Roman  portrait;  309.  Votive  relief  toademi-god;  318.  Sarcophagus-relief, 
Venus  and  Adonis;  320.  Tombstone  of  a  Roman  trumpeter;  324.  Frag- 
ment of  a  statue  of  Artemis;  "328.  Caryatid;  '386.  Bust  of  Euripides. 

The  building  on  the  S.E.  side  of  the  Piazza  Dante,  erected  in 
1767,  but  with  a  modern  facade  (1890)  in  place  of  the  original  class- 
icist facade  by  Gius.  Piermarini,  accommodates  the  Rtale  Accademla 
VirgiUana  di  Sdenze  e  Belle  Arti  fPI.  D  ,  3) ,  founded  by  Maria 
Theresa,   and  the  Museo  Pateio  (entr.,  Via  dell'  Accademia  23; 

fee  1/2  fr-)- 

On  the  groundfloor  are  inscriptions,  mediaeval  and  modern  sculptures 
(bust  of  Francesco  II.,  by  Oianmarco  Cavalli),  prehistoric  antiquities,  etc.  — 
On  the  first  floor  are  frescoes  from  Mantuan  churches,  paintings,  old  plan 
of  Rome  (i5th  cent.),  die-stamps  from  Mantua,  Bozzolo,  Guastalla,  Mon- 
ferrato,  etc.  On  the  end-walls  of  the  last  room  is  an  early  '-'Work  by 
Rubens^  cut  into  two  parts,  representing  the  Gonzaga  family  adoring  the 
Trinity  (1G04). 

Near  the  Porta  Pusterla  is  San  Sebastiano  (PI.  B,  4;  no  ad- 
mission), the  earliest  Renaissance  church  built  in  the  shape  of  a 
Greek  cross,  erected  in  1469  from  the  designs  of  Leon.Batt.  Alberti. 

Outside  the  gate  is  the  "Talazzo  del  Te  (PI.  A,  B,  5 ;  contracted 
from  Teietto?),  erected  on  the  site  of  a  stud-farm  of  the  Gonzagas 
as  a  country-house  for  Federico  II.  in  162.3-35  by  OiuUo  Romano^ 
and  decorated  with  frescoes  and  grotesques  from  his  designs  by 
Fr.  Primaticcio,  Benedetto  da  Fescia,  Rinaldo  Mantovano,  and  others. 
Morning  light  best  for  the  main  rooms.  The  palace  nov?  belongs  to 
the  tovFn;  entr.  by  the  N.  door  (visitors  ring;  fee  1  fr.). 

Antechamber,  tn  the  right  of  the  entrance.  Sun  and  Moon;  modern 
mural  decorations.  In  the  two  anterooms  are  the  arms  of  the  Gonzagas 
and  scenes  from  Ovid  (much  defaced).  1st  Room  (Sala  dei  Cavalli)  to  the 
left,  the  favourite  Horses  of  Duke  Frederick  Gonzaga;  fine  coflered  ceiling. 
—  2nd  Room  (Sala  di  Psiche),  'Myth  of  Psyche  and  Bacchanalians  (the 
latter  restored,  the  upper  paintings  are  in  better  preservation).  Opposite 
the  entrance,  Polyphemus.  Franc.  Penni  (1528)  assisted  in  the  decoration 
of  this  room.  —  3rd  Room  (Camera  delie  Medaglie).  In  the  lower  ovals. 
Fishing,  Market-place,  Gladiatorial  combats,  etc. ;  on  the  ceiling,  repre- 
sentation of  the  zodiac  (in  relief),  etc.  —  4th  Room  (Sala  di  Fetonte),  with 
beautiful  "Stucco  Ornamentation  and  imitations  of  ancient  busts,  by  Pri- 
maticcio (1528),  Fall  of  Phaeton,  and  many  smaller  pictures.  Then  a  line 
open  Loggia  (Grande  Atrio),  History  of  David  (1533-34).  —  5th  Room 
(Sala  degli  Stucchi),  with  a  frieze  by  Primaticcio  (Emp.  Sigismund  entering 
Mantua  in  1433),  and  stucco  figures  of  Hercules  and  Mars.  —  6th  RooM(Sala 
di  Cesare),  Frieze  of  Putti,  by  Primaticcio.  —  The  7th  Room  is  the  Sala 
de'  Oiganti,  extolled  by  Vasari,  with  walls  fantastically  adapted  to  the 
painting,  which  was  executed  chiefly  by  Rinaldo  Manlovano  (1532-34),  but 
has  been  much  restored  (representing  the  Fall  of  the  Giants,  fi^nres  14  ft. 
in  height).  Lastly  several  Cabinets,  with  charming  Raphaelite  decoration, 
and  an  oblong  bath-room  with  shell-ornamentation. 


to  Modena.  ESTE.  42.  Route.    263 

On  the  other  side  of  the  neglected  garden  is  the  Casino  della  Orotla, 
with  its  exquisite  little  rooms  and  its  grotto  encircling  a  small  garden. 

Qiulio  Romano'' s  House  (PI.  B,  4)  is  No.  14,  Via  Carlo  Poma. 
'i\\e  Pal.  di  Qiustizia  (^No.  7;  opposite),  with  its  colossal  liernije, 
was  also  built  by  him. 

From  Mantua  to  Cremona,  see  p.  2C9. 

Light  railways  to  Brescia  (p.  219),  to  Asola,  to  Osliglia,  and  to  (26  Jl.J  Via- 
Jana  I  p.  218).  —  The  last-mentioned  line  passes  (19V2  M.)  Sahhioneta,  which, 
under  Vespasiano  Gonzaga  (1531-&1),  general  of  Charles  V.  and  Philip  11., 
became  the  model  of  a  small  princely  residence-town  of  the  Kenaissance 
period.  It  was  well  fortified  and  had  broad,  siraight  streets,  a  mint,  an 
academy,  a  library,  a  printing- office,  etc.  Faded  traces  of  the  former  splen- 
dour linger  in  the  Municipio,  formerly  the  Palazzo  Ducale,  with  frescoes  and 
stucco- embellishments  by  Bern.  Campi  and  Alberto  Cavalli  of  Ciemoua, 
and  in  the  Palazzo  del  Qiardino,  Ihe  summer-palace,  charmingly  decorated 
within  by  Bern.  Campi  and  others.  Adjoining  Ihe  latler  is  the  Qalleria 
Ducale,  or  former  museum  of  antiquities.  The  Theatre,  built  in  1588-90 
by  Vine.  Scamozzi,  follows  the  general  plan  of  the  theatre  in  Vicenza 
(p.  267).  In  the  handsome  Chiesa  delV  IncoroncUa  is  the  tomb  of  Vespa- 
siano Gonzaga,  with  a  seated  figure  of  the  deceased,  by  Leone  Leoni. 

From  Mantda  to  JIonsklice,  52  JI.,  railway  in  2'/2-3  hrs.  (fares  9  fr.  75, 
6  fr.  85,  4  fr.  40  c).  At  (23V'2  M.)  Cerea  we  join  the  Verona  and  Rovigo 
line  (p.  257),  which  we  follow  to  (23V2  M.)  Legnago  (p.  257). 

371/2  M.  Montagnana  (52  ft.  ;  Arena;  Trenlino),  a  town  of  3500  inhab.,  the 
well-preserved  medioaval  fortifications  of  which,  with  their  pinnacled  walls 
and  towers,  amply  repay  a  visit.  In  the  picturesque  Piazza  stands  the 
Gothic  Cathedral,  with  Renaissance  door  and  choir,  two  altar-pieces  by 
Buonconsiglio  (1511  and  1513  ;  retouched),  etc.  The  neighbouring  Pal.  del 
ifiinicipio  is  ascribed  to  Sanmicheli  (p.  245)  and  contains  a  painting  by 
Buonconsiglio  in  the  large  hall  (spoiled  by  restoration).  Near  the  Porta  San 
Zeno  is  the  Pal.  Pisani,  by  Palladio,  containing  a  chapel  with  the  tomb 
of  the  Venetian  admiral  Pisani. 

47  M.  E8te(49  ft.;  Aliergo  CavalUno;  Centrale,  R.  l-l'/z  fr.),  the  ancient 
Aleste.  is  a  little  town  with  10,800  inhab.  and  a  mediiBval  town-wall, 
at  the  S.  foot  of  the  Euganean  hills.  It  contains  the  now  ruinous  ancestral 
residence  of  the  House  of  Este  (p.  379),  which  was  rebuilt  in  133S  by 
Ubertino  da  Carrara  (p.  277);  the  Porta  Veccfiia  with  a  clock-tower;  the 
Cathedral,  of  elliptical  plan  with  a  lofty  choir  (with  a  painting  by  Tiepolo, 
Este  saved  from  the  plague  by  the  prayers  of  St.  Thecla);  and  the  church 
of  San  Martino,  with  a  leaning  tower.  The  church  of  Santa  M(  ria  delle 
Consolmioni  contains  a  Madonna  by  Cima  da  Conegliano  (1504).  The  Mnseo 
Nazicnale  Atestino ,  opened  in  19U2  in  the  Palazzo  Mocenigo  (16th  cent.), 
contains  a  rich  collection  of  prehistoiic  remains  from  the  lake-dwellings 
and  cemeteries  of  the  neighbourhood,  induding  the  Situla  Benvenuti  and 
other  fine  bn  nze  pai's;  and  also  a  number  of  Greero-Roman  antiquities, 
among  which  may  be  mentioned  the  'Lapide  del  Venda',  a  boundary-stone 
of  141  B.C.,  and  a  Greek  relief  of  the  Medusa,  dating  from  the  early  im- 
perial epoch.  —  The  Casa  Benvenuti  commands  a  view  of  the  Alps  and 
of  the  Apennines.  —  From  Este  to  Argtih  Pelrarca,  see  p.  378. 

52  M.  Montelice,  station  on  the  Padua  and  Bologna  line  (p.  378). 


The  train  crosses  the  Po  by  an  iron  tubular  bridge  beyond 
(321/2  M.)  Borgoforte,  an  unimportant  place  dominated  by  an  old 
castle.  —  371/2  ^I-  Suzzara  (Rail.  Kestaurant;  Alb.  Passera). 

From  Sdzzara  to  Pakua,  27'/2  M.,  railway  in  1'  i>-2  hrs.  (fares  5  fr., 
3  fr.  50,  2  fr.  50  c).  The  chief  station  is  (7i/i  31.)  Guastalla  (Alb.  Leon  d'  Oro), 
a  small  town  near  the  Po,  with  27tX)  inhab.,  which  from  1538  to  1746  was 
the  seat  of  a  lateral  branch  of  the  Gonzagns.  In  the  market-place  is  the 
bronze  Statue  of  Ferdinand  I.  Gonzaga  (d.  1557  at  Brussels),  by  Leone  Lconi. 
From  Guastalla  to  lieggio,  see  p.  3l'4.  —  27'/^  31.  Parma,  see  p.  384. 


264    Route  42.  CARPI. 

From  Suzzaka  to  Ferrara,  51  M.,  railway  in  23/4-3'/2  lirs.  The  chief 
Stations  are  (2IV2  M.)  Poggio  liusco  (p.  307),  (SO'fe  M.)  Sermide,  on  the  right 
hank  of  the  Po,  and,  beyond  the  Bonifica  di  Burana,  a  large  tract  of  land 
(210,000  acres)  which  was  drained  in  ■]8iJ2-99,  (40V2  M.)  Bondeno.  —  51  M. 
Ferrara,  see  p.  379. 

After  passing  (42  M.)  Gonzngn-Reggiolo  we  enter  the  district  of 
Emilia  (p.  356).  —  54  M.  Carpi  (98  ft. ;  Leon  dC  Oro\  a  town  of 
7200  inhab.  and  an  episcopal  sec,  with  an  old  Palace,  wliict  from 
1327  was  the  residence  of  the  Pio  family.  Alberto  Pio  ( 1475-1531), 
a  pupil  of  Aldus  Manutius  and  a  patron  of  Ariosto,  built  the  hand- 
some Palace  Court  (ii»  the  chapel,  frescoes  by  Bernardino  Losco), 
and  began  the  New  Cathedral  after  plans  by  Baldassare  Peruzzi  (ca. 
1514).  In  the  interior,  to  the  left,  a  Christ  by  Begarelli  (p.  372), 
two  statues  by  Prospero  Clementi,  and  a  pulpit  of  the  llth  cen- 
tury. The  Loggia  opposite  the  cathedral  and  the  Colonnades  also 
testify  to  the  taste  and  culture  of  this  prince,  who  was  e.xpelled 
by  Charles  V.  in  1525.  A  street  leads  from  the  Loggia  to  the  Fran- 
ciscan church  of  *San  Niccolb,  founded  in  1493  (nave  by  Peruzzi  V). 
Behind  the  palace  is  the  Old  Cathedral  (La  Sagra),  founded  in 
751  and  altered  after  1515.  The  ancient  Romanesque  portal  has 
been  inserted  in  the  facade  designed  by  Peruzzi;  the  interior  con- 
tains the  Gothic  tomb  of  Manfredo  Pio  (1351).  Close  by  is  a  Roman- 
esque campanile  (1217-21).  The  churcli  of  Son  Francesco,  rebuilt 
in  1682,  contains  the  beautiful  tomb  of  Marco  Pio  (d.  1418). 

From  Carpi  to  Correggio  and  Jteggio,  see  p.  364. 

58  M.  Soliera.  —  631/2  M.  Modena  (p.  372). 

43.  From  Verona  to  Venice.  Vicenza. 

71  Vz  M.  Railway  in  2-4V2  hrs.  (fares  13  fr.  25,  9  fr.  35,  6  fr.  5  c. ;  ex- 
press 14  fr.  70,  10  fr.  30  c).  Dining-cars  are  attached  to  some  of  the  ex- 
press trains,  and  some  have  no  2nd  class.  Finest  views  generally  to  the 
left.  —  The  'train  de  luxe'  between  Cannes  and  Vienna  (see  p.  23)  is 
available  on  this  section  (1^/4  hr. ;  fyre  20  fr.). 

Verona  (Porta  Vescovo) ,  see  p.  243.  The  line  traverses  an 
extremely  fertile  district,  planted  with  vines,  mulberries,  and 
maize,  and  intersected  with  irrigation-trenches.  To  the  left  appears 
San  Michele  (p.  256).  —  31/2  M.  San  Martina  Buonalhergo  (145  ft.), 
with  the  high -lying  Villa  Musella,  amidst  cypresses.  —  l^j-i  M. 
Caldiero.  Excursion  to  the  Monti  Lessini,  see  p.  256.  ■ —  The  warm 
mineral  springs  of  (81/0  M-)  Pagni  di  Caldiero  were  known  to  the 
Romans;  they  rise  out  of  the  basalt  rock  aud  contain  iodine.  —  We 
next  pass  Soave,  once  belonging  to  the  Scaligers,  on  the  slope  to 
the  left,  presenting  a  good  picture  of  a  mediffival  fortified  town. 

121/2  M.  San  Bonifacio  (p.  256).  On  a  hill  to  the  N.  is  Monte- 
forte.  Arcole,  3'/2  M.  to  the  S.,  was  the  scene  of  the  battles  of 
15-17th  Nov.,  1796,  between  the  Austrians  under  Alvinczy  and 
the  French  under  Bonaparte,  Massena,  Augereau,  and  Lannes.  — 
16  M.  Lonlgo  (steam-tramway  to  the  village,  41/2  M.  to  the  S.E.,  see 


eogra^h  Anstalt  von 


VICENZA.  43    Route.   265 

p.  256).  To  the  right  appear  the  Monti  Berici,  a  chain  of  volcanic 
hills,  with  large  qviarries  worked  from  antiquity  to  the  present  day. 

—  20  M.  Montebello  Vicentino.  The  handsome  chateau  belongs  to 
Count  Arrighi.  Beautiful  view  towards  the  mountains  (left);  on  a 
hill,  the  ruined  castles  of  Montecchio  (p.  269).  Then  (25  M.)  Taver- 
nelle  (light  railway  to  Valdagno  and  to  Clilimpo,  see  p.  269).  — 
30  M.  Vicenza. 

Vicenza.  —  Hotels.  Roma  (PI.  a;  B,  3),  Corso  Principe  Umberfo,  near 
the  Porta  Casfello,  with  trattoria  and  small  garden,  R.  21/2-3,  omn.  1/2  fr., 
variously  judged.  —  Tre  Garofas'  (P.  c;  B,  2),  in  the  narrow  Contrada 
delle  Due  Rode,  R.  2,  omn.  V2  tf-!  good,  though  unpretending;  Cavalletto 
(PI.  d;  C,  3),  Piazza  della  Biava,  quite  unpretending. 

Cafes.     Garibaldi,  Piazza  de"  Signori ;  Nazionale,  in  the  Corso. 

Cab  from  station  to  town  75  c.  (at  night,  Ifr.);  first  hr.  l^-i,  each  ad- 
ditional hr.  1'  4  fr. :  trunk  25  c. 

Post  &  Telegraph  Office  (PI.  C,  2),  in  the  Corso. 

Chief  Sights  (I  day):  Corso  Principe  Umberto  and  Piazza  de'  Signori, 
with  the  Butiiica  Palladiana  (p.  266);  Palazzi  in  the  Contrada  Porti  and 
Contrada  Glacomo  Zanella  (p.  267);  Teatro  Olimpico  (p.  26T);  Museo  Civico 
(p.  266).     Ill  the  afternoon :  Madonna  del  Jlonte  (p.  26S)  and  Rotonda  (p.  268). 

—  The  Festa  della  Una,  a  popular  festival,  takes  place  on  Sept.  1st. 

Vicenza  (130  ft.),  the  ancient  Vicetia,  capital  of  a  province  and 
see  of  a  bishop,  with  24,300  inhab.,  lies  at  the  N.  base  of  the  Monti 
Berici  (see  above),  on  both  sides  of  the  Bacchiglione,  at  its  con- 
fluence with  the  Retrone.  Although  closely  built,  the  town  possesses 
many  interesting  palaces,  to  which,  with  the  picturesque  environs, 
a  short  visit  may  proiitably  be  devoted. 

Vicenza,  like  most  of  the  larger  towns  of  N.  Italy,  boasted  in  the  15th 
Cent,  of  a  School  of  Painting,  which,  though  it  was  strongly  influenced 
by  Manfegna  (born  here  in  1431,  but  active  in  Padua  and  Mantua  alone), 
and  never  produced  masters  of  the  highest  rank,  yielded  results  of  consider- 
able importance.  The  gallery  and  the  churches  (Cathedral,  Santa  Corona) 
of  Vicenza  contain  numerous  works  by  Barlolomeo  Montagua  (ca.  1450-1523), 
of  tirzinuovi.  His  compositions  are  strongly  realistic,  and  he  shows  a 
predilection  for  muscular  figures,  and  for  colouring  of  a  rich  brownish 
tint.  His  drapery  is  ungraceful,  but,  like  that  of  Diirer,  boldly  defined. 
Giovanni  Buonconsiylio,  surnamed  Mareecalco  (d.  1537),  resembling  the  Ven- 
etians both  in  conception  and  colouring,  ranks  as  the  second  master  of 
note.  His  chief  works  are  the  Pieta  in  the  Museum  (p.  267),  and  the 
Madonna  at  San  Rocco  (p.  26S».  —  In  the  Kith  cent.  Vicenza  lost  its  im- 
portance as  a  school  of  painting,  but  attained  a  high  reputation  in  the 
province  of  Architectuhe,  having  given  birlh  to  .Andrea /'nHadio  (1518-80), 
the  last  great  architect  of  the  Renaissance ,  the  chief  sphere  of  whose 
operations  was  his  native  town.  By  his  study  of  the  antique  in  Rome  he 
was  enabled  to  effect  a  revival  of  what  may  be  termed  the  ancient  language 
of  forms,  and  he  made  it  his  endeavour  to  exhibit  in  his  buildings  the 
organic  connection  between  the  different  members.  The  chief  character- 
istic of  his  school  consists  in  a  studious  adherence  to  impressive  simplicity 
of  form,  and  a  very  sparing  indulgence  in  the  Lavish  enrichments  in  which 
the  early-Renaissance  was  too  apt  to  revel.  His  finest  churches  are  at 
Venice  (comp.  p.  290),  but  his  most  numerous  palaces  are  at  Vicenza,  to 
which  they  impart  a  uniform  and  handsome  appearance. 

We  enter  the  town  by  the  W,  gate,  PoHn  del  Castello  (PI.  B,  3j. 
Immediately  to  the  right,  at  the  S.  end  of  the  narrow  Piazza  del 
Castello,  is  the  Palazzo  Giulio  Porto,  formerly  called  Casa  del  Diavolo, 


266   Route  43.  VICENZA.  From  Verona 

a  large  unflnished  palace  by  Palladio,  with  two  stories  united  by  a 
row  of  Corinthian  columns  with  a  rich  cornice. 

To  the  left,  at  the  beginning  of  the  CoEso  Peincipb  Umbeeto, 
which  intersects  the  entire  town,  lies  the  Palazzo  Bonin  (PI.  B,  3), 
by  Vine.  Scamozzi.  On  the  right,  opposite  the  church  of  San  FUippo 
Neri  (1719J,  stands  the  Palazzo  Loschi  (18th  cent.).  —  The  Strada 
Loschi,  the  next  cross-street  on  the  right,  leads  to  the  — 

Duomo  (PL  B,  3),  consisting  of  a  broad  and  low  Gothic  nave 
with  wide  vaulted  arches,  side-chapels  in  place  of  aisles,  a  Renais- 
sance choir,  much  raised,  and  dome,  and  a  crypt  of  the  18th  century. 
In  the  4th  chapel  to  the  left  are  frescoes  and  a  Madonna  with  saints 
by  Bart.  Montagna,  in  an  old  frame;  in  the  5th  to  the  right  is  a 
Death  of  the  Virgin  by  Lor.  Veneziano  (1366).  —  To  the  right  in 
the  piazza  is  the  Vescovado,  or  episcopal  palace,  with  a  facade  of 
1819;  the  court  (1543)  contains  to  the  right  an  elegant  little  early- 
Renaissance  arcade  by  Tomm.  Fromentone  (1494). 

We  return  to  the  Corso.  On  the  left  is  the  Palazzo  Thlene,  and 
farther  on,  beyond  the  Contrada  Pozzo  Rosso  (p.  268),  is  the  Pal. 
Braschi  (usually  known  as  the  Casino  T'ecc/tio),  two  Gothic  edifices 
of  the  15th  century.  On  the  right,  beyond  the  Contrada  Cavour,  is 
the  handsome  Palazzo  Porto  (formerly  Pal.  Trissino  -  Bastori) ,  by 
Scamozzi  (1588-1662).    Opposite  is  the  Contrada  Porti,  see  p.  267. 

The  Contrada  Cavour  leads  to  the  handsome  Piazza  db'  Siqnoei, 
with  two  columns  of  the  Venetian  period.  Here  rises  the  **Basilica 
Falladiana  ( PL  C,  2,  3),  with  its  grand  colonnades  in  two  stories, 
the  lower  Doric,  the  upper  Ionic,  surrounding  the  Palazzo  della 
Ragione  (town-hall),  an  earlier  building  in  the  pointed  style.  These 
colonnades,  begun  in  1549  but  not  finished  until  1614,  are  among 
Palladio' s  earliest  works.  On  the  first  floor  is  a  large  hall  with  a 
finely  vaulted  wooden  roof  (key  at  the  police-office  in  the  Muui- 
cipio ;  gratuity  30-50  c.)  The  slender  red  brick  tower  is  270  ft.  in 
height.  Adjacent,  at  the  corner  of  the  Piazza  della  Biava,  is  the 
Tribunale.  —  Opposite  the  Basilica  is  the  unfinished  Loggia  del 
Capitanio  (p.  272),  also  by  Palladio  (1571),  overladen  with  plastic 
embellishments;  it  now  belongs  to  the  Municipio.  Adjoining  it  on 
the  right  is  the  Monte  di  Pieth,  erected  in  1704  for  the  Biblioteca 
Bertoliana,  by  Ant.  Muttoni.  —  On  the  S.W.  side  of  the  Basilica 
rises  a  Statue  of  Palladio  in  marble,  by  Gaiassi  (1859). 

We  return  to  the  Corso,  in  which,  to  the  left,  beyond  the  Con- 
trada Giacomo  Zanella  (p.  267),  are  the  Pal.  Da  Schio  (Gothic,  with 
early-Renaissance  portal)  and,  at  the  end  of  the  Corso,  the  Casa  di 
Palladio,  the  facade  of  which  was  once  painted  (1566).  We  next 
reach,  on  the  right,  in  the  Piazza  Vittorio  Emanuele,  the  — 

Museo  Civico  (PL  C,  2),  established  in  the  Pal.  Chiericati,  one 
of  Palladia's  finest  edifices,  seriously  injured  in  1848,  but  restored 
in  1855  (open  daily  11-2,  free;  9-11  and  2-4,  fee  V2-I  fr.). 


to  Venice.  VICENZA.  43.  Route.   267 

Gkodnd  Floor  :  Roman  antiquities  from  an  ancient  theatre.  —  The 
UrpER  Floor  (entr.  to  the  left  in  the  court)  contains  the  *Pinacoteca.  Ante- 
chamber. End-wall  to  the  left:  no  number,  Tiepolo,  Madonna  on  the  ter- 
restrial globe;  2.  Jac.  Bassano.,  Senators  before  the  Madonna;  opposite,  no 
number,  Strozzl,  Christ  in  the  house  of  Simon  the  Pharisee.  The  cabinets 
contain  ancient  terracottas  and  bronzes,  medals,  etc.  —  Room  I  (to  the  left): 
to  the  right,  *t5.  Van  Dyck,  The  four  ages  (an  early  work).  —  Room  II. 
Kntrance-wall,  38.  Titian  {'!),  Resurrection  of  Christ,  a  sketch;  opposite,  12. 
J'aolo  yeronese,  Madonna  and  two  Saints  (injured).  —  Room  III.  Entrance- 
wall,  17.  Antonello  da  Messina,  Ecce  Homo;  IS.  Ciyaa  da  Conegliano,  Madonna 
in  an  arbour,  the  earliest  si|;ned  work  of  this  master  (1489,  tempera;  in- 
jured); opposite,  31.  Memling  (here  attributed  to  Ambergtr),  Portrait  (in- 
jured); 3.  Mtmling,  Crucilision,  with  saints  and  monks  (early  work);  farther 
on,  28.  Paolo  da  Venezia^  Altar-piece  (1333).  —  Room  IV  contains  the  chief 
works  of  the  Vicenza  School.  Montagna,  2.  Madonna  enthroned,  with  four 
saints  and  angel-musicians,  below  is  a  predella,  3.  Adoration  of  the  Child, 
both  early  works  (ca.  1480),  in  tempera;  5,  6.  Madonnas;  8.  Presentation 
in  the  Temple;  17.  3Iadonna  between  SS.  Onuphrius  and  John  the  Baptist. 
Buoncoiisigliu,  21.  St.  Catharine,  '22.  Pieta,  an  early  work  in  tempera,  very 
impressive.  —  V.  Room.  Portraits.  —  The  following  rooms  contain  en- 
gravings; in  the  last  but  one,  modern  glass  from  Murano;  in  the  last, 
drawings  and  manuscripts  of  Palladio,  etc.,  and  coins.  —  On  the  other 
side  of  the  anteroom  are  rooms  with  inferior  pictures.  —  The  Natdeal 
HisToEi  Collection  contains  valuable  fossils  (a  fish,  a  palm,  a  crocodile, 
etc.),  most  of  them  found  near  Vicenza. 

In  the  vicinity  is  the  *Teatro  Olimpico  (PI.  C,  2 ;  custodian  on 
the  E.  side  at  No.  3;  fee  1/2  f"".},  begun  by  Palladio  in  1579, 
completed  in  1584,  after  his  death,  by  Scamozzi,  and  inaugurated 
by  the  performance  of  the  '(Edipus  Tyrannus'  of  Sophocles.  Palladio 
adhered  generally  to  the  precepts  of  Vitruvius  as  to  the  construction 
of  ancient  theatres,  but  the  building  is  far  from  being  a  mere  imi- 
tation. The  auditorium  rises  in  thirteen  semi-oval  tiers,  while  the 
orchestra  and  the  two-storied  stage  lie  5  ft.  below  the  level  of  the 
seats.  The  three  door-openings  at  the  back  of  the  stage  afford  views 
of  ascending  streets,  in  curiously  deceptive  relief. 

The  most  interesting  churches  and  many  fine  palazzi  are  to  be 
found  in  the  quarter  to  the  N.  of  the  Corso.  The  Contrada  di  Santa 
Corona,  diverging  just  before  the  E.  end  of  the  Corso,  leads  to  the 
Dominican  church  of  Santa  Corona  (  PI.  C,  2),  a  Gothic  brick  edifice 
of  1260-1300,  with  a  plain  facade.  ~ 

Intkrioe.  2nd  altar  on  the  left.  Five  saints  by  Bart.  Montagna  (in 
rich  Renaissance  frame);  4th  altar  on  the  left,  Madonna  of  the  14th  cent., 
with  angels  by  Fogolino  (ca.  1530);  5th  altar  on  the  left,  "Baptism  of  Christ 
by  Giovaniti  Bellini,  in  a  fine  frame,  a  late  work  and  one  of  the  finest 
productions  of  the  master  (about  1501 V).  Chapel  to  the  right  of  the  choir, 
two  fine  Gothic  mural  monuments  (IBth  cent.). 

The  Contrada  Santo  Stefano,  opposite,  a  little  to  the  right,  leads 
to  Santo  Stefano  |  PI.  C,  2) ;  in  the  left  tran.sept,  Palma  Vecchio, 
*Madoiina  enthroned  with  SS.  Lucia  and  George,  an  admirable 
example  of  his  middle  period  (  best  light  in  the  morning). 

Opposite,  to  the  left,  in  the  Contrada  Giacomo  Zanella,  stands 
the  unfinished  Palazzo  Thiene  (now  the  Banca  Popolare),  the  front 
designed  by  Palladio  (1556),  the  back  part  facing  the  Contrada 
Porti,  being  an  early-Renaissance  structure.   Opposite  to  it,  in  the 


268    Route  13.  VICENZA.  From  Verona 

last-named  street,  rises  the  richly  ornamented  Palazzo  Porto- 
Barbaban  (PI.  B,  C,  2],  by  Palladio  (1570),  and  at  the  N.  end  of 
the  street,  to  the  left,  are  the  Gothic  Pal.  Porto,  with  an  attractive 
early-Renaissance  portal  of  1481,  and  two  Palazzi  Colleoni,  of  which 
one  is  Gothic  with  a  fine  colonnade  and  staircase,  the  other  hy  Palladio. 

We  now  follow  the  Conlrada  di  Riale  to  the  W.  to  the  Coiitrada 
San  Lorenzo,  at  the  end  of  which,  in  the  piazza  of  the  same  name, 
stands  the  fine  Gothic  church  of  San  Lorenzo  (PI.  B,  2;  1280-1344), 
containing  the  tomb  of  Bart.  Montayna  (p.  266),  the  Renaissance 
mural  monument  of  Leonardo  Porto  (d.  1562),  and,  in  the  chapel 
to  the  left  of  the  choir,  frescoes  by  Monlagna  representing  scenes 
from  the  life  of  St.  Peter  (injured).  —  In  front  of  the  church  is  a 
Slalue  ofGidcomo  Zanella  (1820-88),  the  poet,  by  C.  Spazzi  (1893). 

In  the  S.  part  of  this  street,  known  as  the  Contrada  Pozzo  Rosso, 
is  (left)  the  Palazzo  Valrnarana  (PI.  B,  2),  by  Palladio  (1566). 

In  the  W.  part  of  the  town  is  San  Rocco  (PI.  A,  2),  with  a  high-altai- 
piece  by  BuonconHglio,  Madonna  enthroned  with  SS.  Sebastian,  ISernard, 
Peter,  and  Paul,  remarkable  for  its  fine  colouring  (1502). 

The  route  to  the  pilgrimage-church  of  Madonna  del  Monte  on 
MoNTB  Berico  is  either  through  the  Porta  San  Giuseppe  (PI.  C,  3; 
before  passing  through  which  we  observe  the  Ponte  San  Michele, 
crossing  the  Retrone,  by  Palladio);  or  to  the  right  from  the  railway 
station,  past  the  Villa  Arrigoni  (Pi.  C,  4)  and  across  the  railway^  to 
the  arcade  leading  to  the  church.  This  passage,  710yds.  long,  was 
sharply  contested  in  1848  by  Italian  irregular  troops,  who  had  forti- 
fied the  hill  with  its  villas,  and  the  Austrians.  At  the  cross-roads 
(PL  G,  5;  295  ft.)  a  fine  view  is  obtained  of  the  town  and  the 
Venetian  Alps.  The  church  of  Madonna  del  Monte  (PL  C,  6),  a 
little  farther  up,  rebuilt  in  1668  by  Ag.  Banlla,  is  in  the  form  of  a 
Greek  cross  with  a  dome.  The  present  left  transept  was  the  original 
church  (1428) ;  in  the  sacristy :  Bart.  Montagna,  *Pieta  (1500).  The 
old  refectory  of  the  monastery  (shown  by  the  sacristan )  contains  the 
Banquet  of  Gregory  the  Great  by  P.  Veronese  (1572),  torn  to  pieces 
in  1848,  but  restored  with  the  aid  of  the  copy  in  the  Pinacoteca. 

From  the  above-mentioned  cross-roads  a  road  leads  to  the  E. 
along  the  hill  (comp.  PL  C,  D,  5),  from  which  a  (2  min.)  foot- 
path diverges  to  the  right,  passing  the  Villa  Fogazzaro  and  the  Villa 
Valrnarana  (with  frescoes  by  Tiepolo),  to  the  famous, ■•but  now 
dilapidated  *Rotonda  by  Palladio  (now  the  Villa  Zanini),  which 
lies  10  min.  farther  on,  at  the  N.E.  base  of  the  Monti  Berici.  It 
is  a  square  building  with  Ionic  colonnades  surmounted  with  pedi- 
ments. In  the  centre  is  a  circular  domed  hall.  Visitors  are  generally 
admitted  (except  on  Sun.  afternoon)  by  the  door  of  the  farm,  to  the 
right  of  the  main  entrance  (knock  ;  fee  1/2  fr.). 

The  Cimitero,  to  the  N.E.  of  the  town  (through  the  Borgo  Scroffa, 
PL  D,  1),  contains  the  tomb  of  Palladio  (d.  1580). 

FromVicenza  to  Recoako,  25  M.  Steam  Tramway  to  VaJdagno,  I91/4  M., 
in   2  hrs.   (fares   2  fr.   40,   1  fr.   20  c.),    starting   near   the  railway  -  station 


to  Venice.  SCHIO.  43.  Route.    269 

(I'l.  A,  3).  Principal  stations:  4'/j  M.  Tavernelle  (p.  265);  7  M.  Montecchio 
J/a?<7!or«  (235  ft. ;  Alb.  Ro.sa  d'Oro),  with  the  imposing  Villa  Cordellina 
(frescoes  by  Tiepolo;  to  the  right),  commanded  by  two  ruined  castles; 
8  M.  Salt  Vitale,  whence  a  branch-line  runs  to  Arzignano  and  Chiampo, 
while  our  line  ascends  the  Agno  Valltv  between  the  basaltic  spurs  of  the 
Alps.  191/4  M.  Valdagno  (870  ft. ;  Alb.  delle  Alpi),  a  small  town  with  6800 
inhabitants.  —  Hilly  road  thence  (6  M.;  diligence  thrice  daily  in  1  hr. 
10  min.;  one-horse  carr.  1,  two-horse  7  fr.)  to  the  finely  situated  chaly- 
beate Baths  of  Recoaro  (1460  ft.;  Gi:  H6t.  Giorgetti,  pens.  812  fr.,  Eden 
Hotel,  at  the  springs;  Alb.  alia  Fortiaia,  Alb.  Trellenero,  Cittd  di  Genova, 
etc.,  in  the  town;  Reale  Stabilimento  Jdroierapico  e  Kinesiterapico,  a  large 
bath-house),  visited  annually  by  7-8000  persons  in  the  season  (June  Sept.). 
Blountain-tours:  from  the  Rifugio  Schio  (48S0  ft.),  3  hr<.  to  the  X.W.,  to 
(2  hrs.)  Yullcrsa  (see  belowl,  the  Baffelan  (5875  ft),  the  Cm-netlo  (B240  ft.),  the 
Pambio  (7325  ft.),  and  the  Cima  di  Poslit  (7180  it. ;  p.  256) ;  over  the  Pcisio  delta 
Lura  to  Giazza  (p.  256)  —  A  good  road  (omn.  to  Ruvereto,  p.  21)  leads  from 
Recoaro  over  the  Passo  Xon  (22C0  ft.)  to  (7  31.)  VaW  del  Signori  (see  below). 

A  Railway  (20  M.,  in  1  hr. ;  fares  3  fr.  35,  2  fr.  40,  i  fr.  50  c.)  runs 
from  Vicenza  to  the  N.  by  (8  M.)  Dueville  and  (13V2  H.)  Thiene  (Alb.  della 
Luna),  with  a  chateau  containing  frescoes  by  P.  Veronese.,  to  Schio  (635  ft. ; 
Cyoce  d'Oro,  near  the  cathedral,  R.  from  IV2  fr.),  a  town  wih  10,200  inhab. 
and  extensive  wool-factories,  the  largest  of  which  is  the  Lanificio  Rossi. 
Sign.  A.  Rossi  (1819-Q8;  statue  in  front  of  the  factory)  founded  a  workmen's 
colony,  rebuilt  the  church  of  SanV  Antonio  Abbaie,  and  erected  the  ligure 
of  a  Trt;«r«r  (by  Monteverde).  The  cathedral  of  San  Pietro  is  of  the 
18th  century.  The  cemetery  is  worthy  of  a  visit.  Schio  is  a  good  starting- 
point  for  excursions.  —  From  Schio  a  steam-tramway  runs  N.  to  (12  M.) 
Arsiero  (1165  ft.;  Alb.  Bortolan),  the  chief  place  in  the  Val  d'Asiico;  an- 
other to  the  W.  to  (2'/-  31.)  Torrebelvicino  (850  ft). 

The  HiGHRO.vD  TO  RovERETO  from  Vicenza  skirts  the  mountains,  via 
(11  31.)  Malo  (380  ft.)  and  (I5V2  M.)  Sehio,  to  (18  M.)  Torrebelvicino  (see 
above):  thence  it  ascends  the  valley  of  the  Leogra,  via  (21  M.)  Valli  dei 
Signori  (iloO  (t. ;  see  above),  to  the  (28V2  31.)  Piano  della  Fvgazza  (6125  ft.; 
H6t.  Dolomiti  JUeridionali,  pens.  7-10  Ir.),  the  boundary  between  Italy  and 
Tyrol;  and  finally  descends  the  valley  of  the  Arsa,  via  (34  M.)  Vallarsa 
(2675  ft.;  inn),  to  (44i/o  M.)  Rovereto  (p.  21). 

From  Vicenza  to  Treviso,  see  R.  45. 


Between  Vicenza  and  Padua  are  (35  M.)  Lerino  and  (891/2  M.) 
PoUma  di  Oranfion.    To  the  S.,  the  Monti  Euganei  (p.  376). 

481/2  M.  Padua,  see  p.  270.  From  Padua  to  Venice  via  Fusina, 
see  p.  278. 

To  the  left,  as  the  train  proceeds,  are  seen  the  distant  Venetian 
Alps.  At  (52  M.)  Ponte  di  Brenta  (40  ft.;  p.  278)  we  cross  the 
Brenta.  —  58V2  M.  Dolo  (26  ft. ;  p.  218).  —  Near  (61  M.)  Marano 
a  canalized  arm  of  the  Brenta  is  crossed.  To  the  left  is  the  Venetian 
advanced  fort  of  Carpenedo. 

66V2M-Mestre(13  ft.;  Railway  Restaurant),  a.tovfn  sfith  6500  in- 
hab., is  the  junction  for  the  lines  via  Treviso  and  Udine  to  Pontehha 
and  Vienna  (R.  6)  and  to  Gorizia  and  Trieste  (R.  48  a),  for  the 
line  via  Portogruaro  and  Monfalcoue  to  Trieste  (R.  48  b),  and  for 
the  electric  light  railway  to  San  Gluliaiio  (Venice,  p.  278).  —  Venice, 
rising  from  the  sea,  now  comes  into  view.  Beyond  Fort  Mahjhera 
(left)  the  train  reaches  the  Bridge  (222  arches  of  31  ft.  span; 
length  2' '3  M.)  by  which  it  crosses  the  Layune  in  8  minutes. 

liy.ik.  Venice,  see  p.  281. 


270 


44.    Padua. 


Railway  Stations.  1.  Principal  Station  (P\.  D,  1),  outside  tlie  Barriera 
Mazzini,  1  M.  from  the  Piazza  Cavour,  for  (he  "Verona- Venice  (R.  43), 
Padua-Bassano  (R.  45),  and  Venice-Bologna  (R.  5i)  routes.  —  2.  Stazione 
Santa  Sofia  (PI.  E,  3),  for  the  lines  to  Fusina  and  Venice  (p.  278),  to  Piove, 
and  to  Conselve  and  Bagnoli. 

Hotels.  Grand  Hotel  Savote  &  Croce  d'Oro  (PI.  a-,  D,  4),  Piazza 
Cavour,  R.  3-4V2,  omn.  3/4-I  fr.,  with  restaurant,  variously  spoken  of; 
Alb.  Fanti  .Stella  d'Oro  (PI.  b;  D,  3),  Piazza  Gavibaldi,  R.  21/2-4,  omn. 
1  fr.,  good ;  Alb.  dello  Stoeionk  (PI.  e ;  C,  D,  4),  Via  Municipio,  wilh  steam- 
heating,  both  very  fair,  with  frequented  restaurants.  —  Alb.  &  Tkattohia 
AL  Pabadiso  (PI.  c;  D,  3),  Piazza  Garibaldi,  R.  11/2-21/2,  plain  but  good; 
Alb.  Cuoci  Bianche  (PI.  f;  D,  E,  5j,  Piazza  del  Santo,  frequented  by 
pilgrims;  Alb.  Leone  Bianco,  near  the  Piazza  Cavour;  Alb.  Eistobante 
alla  Stazione  (PI.  d;  C,  D,  1),  near  the  principal  station,  R.  2  fr.,  quite 
unpretending. 

Cafes.  "Pedrocchi  (PI.  C.P;  D,  4),  near  the  Piazza  Cavour,  an  im- 
posing edifice  with  marble  halls  and  columns,  open  all  night;  Posla, 
opposite  Pedrocchi's;  Gaggian,  Piazza  Vittorio  Eiuanuele  Secondo;  Ouerrana, 
at  the  corner  of  the  Piazza  Garibaldi.  —  Restaurants  at  the  hotels ;  Stoppato, 
at  the  Ponte  Altinate  (PI.  D,  3);  La  Rotonda  (PI.  C,  1),  open-air  restaurant 
with  a  summer-theatre,  on  the  bastion  beside  the  Barriera  Mazzini.  — 
Wine  at  the  Fioschetteria  Fratelli  Penasa,  Via  Turchia,  behind  Pedrocchi's, 
with  cold  viands. 

Oabs.  ^Broughams'  with  one  horse  :  to  or  from  the  station  1  fr.,  lug- 
gage 40  c,  1  hr.  IV2  fr.,  each  additional  hour  1  fr. ;  drive  in  the  town 
50  c,  at  night  25  c.  more. 

Electric  Tramway  (10  c,  Sun.  and  holidays  15  c.)  from  the  main  station 
through  the  principal  streets  to  Bassanello  (comp.  PI.  C,  8).  —  Omnibus 
(10,  at  night  30  c.)  from  the  main  station  to  the  Piazza  Cavour  (PJ.  D,  4). 

Bookseller  (also  photograph.s).  Libreria  all'  UniversM,  in  the  University 
(p.  271).  —  Post  &  Telegraph  Office  (PI.  D,  4)  near  the  Piazza  Cavour. 

Chief  Attractions  (IV2  day).  1st  Day.  Morning :  Piazza  dei  Fruiti  and 
Piazza  Erbe,  with  the  Salone  (p.  'i72) ;  Piazza  delV  Unita  dl' Italia  (p.  272); 
Piazza  del  Santo,  with  the  church  of  Sanf  Antonio  (p.  273);  Mi'seo  Civico 
(p.  275).  Afternoon :  Scuola  del  Santo  (p.  274) ;  Cappella  San  Giorgio  (p.  275) ; 
Botanic  Garden  (p.  276);  Santa  Giustina  (p.  276).  —  2nd  Day.  Madonna  delV 
Arena  (p.  277);  Kremitani  (p.  277). 

Padua  (40  ft.),  Ital.  Padova,  Lat.  Patavium,  the  capital  of  a 
province  and  see  of  a  bi.shop,  witli  49,000  inhab.,  lies  on  tlie  Bac- 
chiglione,  which  flows  through  it  in  several  branches.  Its  tortuous 
streets  are  generally  flanked  with  low  and  narrow  ^Porticf  or  ar- 
cades, but  some  of  the  chief  thoroughfares  have  been  widened  by 
the  removal  of  the  portici.  The  outer  quarters  consist  largely  of 
gardens.  Some  of  the  numerous  bridges  over  the  different  arms  of 
the  river  date  from  the  Roman  period.  Excellent  drinking-water  is 
brought  from  the  neighbourhood  of  Dueville  (p.  269). 

Padua,  according  the  Virgil,  traces  its  origin  to  Antenor,  the  mythical 
King  of  Troy,  brother  of  Priam,  and  under  Augustus  was  the  wealthiest 
town  in  Upper  Italy.  All  the  ancient  monuments  were  afterwards  destroy- 
ed during  the  immigration  of  the  barbarian  hordes.  In  the  middle  ages 
the  town,  which  fell  into  the  hands  of  Ezzelino  da  Romano  in  1237-59, 
sided  with  the  Guelphs,  and  in  1318  it  appointed  Jacopo  da  Carrara  to 
the  Signoria.  The  princes  of  this  family  were  much  harrasscd  by  the 
Scaligers  of  Verona  and  the  republic  of  Venice,  and  at  length  succumbed 
in  14Cfe,  when  Padua  was  annexed  to  Venetia.  The  University,  founded  by 
Bishop  Giordano  in  1222,   and   extended  by  Emp.  Frederick  II.   in  1238, 


PADUA.  44.  Route.   271 

rendered  Padua  a  very  famous  seat  of  learning  fhroughout  the  middle  ages 
and  the  Renaissance  period. 

In  the  History  of  Akt  Padua  is  also  an  important  place,  its  reputa- 
tion as  the  chief  seat  of  Italian  learning  having  attracted  many  artists.  The 
Florentine  masters  Giotlo,  Paolo  Uccello,  Fra  Filippo  Lippi,  and  Doiuiiello 
found  ahnndant  occupation  here.  The  native  artists  were  introduced  to 
the  antique  by  the  classical  scholars  ;  and  the  school  of  art  founded  here  by 
Francesco  Squarcione  (1397-1474)  exhibits  a  peculiar  doctrinaire  character. 
Squarcione,  though  not  a  professional  artist,  made  a  valuable  collection  of 
works  of  art  during  his  travels,  and  caused  young  artists  to  make  draw- 
ings from  these  models.  The  austere  style  peculiar  to  the  Padnan  pictures 
is  perhaps  due  to  this  doctrinaire  training  of  the  artists  and  to  the  in- 
fluence of  Diinatello.  The  greatest  master  of  the  Paduan  school,  which 
materially  influenced  that  of  Venice  in  the  15th  cent.,  was  Andrea  Man- 
tegna  (p. '265),  who  exhibits  an  almost  northern,  Albrecht-Diirer-like 
severity  of  style.  The  chief  work  of  his  early  period  is  in  the  church 
of  the  Eremitani.  A  distinguishing  characteristic  of  the  school  is  its 
predilection  for  richness  of  decoration,  for  which  Squarcione's  collection 
doubtless  supplied  abundant  models. 

From  the  Main  Railway  Station  (PI.  D,  1)  we  follow  the  tram- 
way-line through  the  Barriera  Mazzini  and  across  the  piazza  of  that 
name  (PI.  C,  2),  ailorned  since  1903  with  a  bronze  statue  of  Mazzini 
(p.  74),  to  the  (6  min.)  cnntre  of  the  town.  —  In  the  adjoining 
Piazza  Pbtrarca  (PI.  C,  2)  rises  a  monument  to  PeArarch  (p.  377), 
erected  in  1874.  —  On  the  N.  side  of  the  piazza  stand  the  Church  of  i 
Carmini  and  the  Scnola  del  Carmine  (now  a  baptistery;  sacristan 
in  the  cloisters),  with  sadly-damaged  Kith  cent,  frescoes  from  the 
lives  of  Christ  and  St.  Joachim,  Anna,  and  Mary. 

Left  of  the  altar:  Titian,  Meeting  of  Joachim  and  Anna,  executed  in 
1511,  at  the  same  time  as  the  frescoes  in  the  Scuola  del  Santo  (p.  274;  badly 
injured);  on  the  end-wall,  Dom.  Campagnola,  Birth  of  Christ  and  Adoration 
of  the  Magi;  the  others  are  by  inferior  masters. 

Near  the  Piazza  Petrarca  are  the  Ponte  Molino  (PI.  C,  3)  and  a 
Tower,  bearing  the  (modern)  inscription,  'mesto  avanzo  di  nefanda 
tirannide :  Ezzelino  eresse  1250',  which  recalls  the  tyranny  of  Ezze- 
lino  da  Romano  (p.  280).  From  the  bridge  the  Via  Dante  leads 
direct  to  the  Piazza  delV  UnitiX  £  Italia  and  the  Cathedral  (p.  272). 

In  the  meantime  we  follow  the  tramway  to  the  left,  traversing 
the  Via  Garibaldi,  from  which  the  Via  Giovanni  Cittadella  leads  to 
the  left  to  the  Madonna  dell'  Arena  and  the  Eremitani  (p.  277). 
The  Via  Garibaldi  brings  us  to  the  Piazza  Garibaldi  (PI.  D,  3) 
and  the  Piazza  Cavour  (PL  D,  4),  which,  with  the  neighbouring 
Via  Otto  Febhraio  (PI.  D,  4),  now  form  the  chief  centre  of  life  and 
business. 

In  the  Via  Otto  Febbraio,  to  the  left,  stands  the  University 
(PI.  D,  4),  occupying  a  building  called  '11  Bb',  from  a  tavern  with 
the  sign  of  the  ox  which  once  existed  in  the  vicinity.  In  the  hand- 
some colonnades  in  the  court,  erected  in  1552  by  Jac.  Sansovino, 
are  numerous  names  and  armorial  bearings  of  distinguished  'cives 
acadentici\   Handsome  aula. 

Opposite  are  two  streets  leading  to  the  W.  to  the  Piazza  uki 
Frutti  and  the  Piazza  Ebbb  (PI.  C,  4).    At  the  N.E.  angle  of  the 


272    Route  44.  PADUA.  Cathedral. 

latter  is  the  Palazzo  del  Municipio  (PI.  C,  D,  4),  of  the  16tb  century. 

—  Between  the  two  Piazzas  rises  the  Palazzo  delta  Ragione,  briefly 
called  the  Salone,  a  ^Juris  Basilica'  as  the  inscription  records, 
erected  in  1172-1219.  The  logge  were  added  in  1306.  The  name 
'Salone'  it  derives  from  its  great  Hall  on  the  upper  floor,  formed 
in  1420.  Entrance ,  Via  del  Municipio  (by  the  iron  gate  to  the 
left);  fee  i/oh. 

The  Great  Hall,  with  vaulted  wooden  ceiling,  is  91  yds.  in  length, 
31  yds.  in  breadth,  and  79  ft.  in  height.  By  the  entrance-wall  are  two 
colossal  Egyptian  statues  of  Neith,  and  the  'Petrone'  or  'Pietra  del  Vitui^ero' 
(lapis  viiuperii  et  cessionis  bonorum),  a  kind  of  stone  pillory  on  which  de- 
faulting debtors  were  exposed  to  the  jeers  of  the  populace  in  tlie  market- 
place. The  hall  also  contains  a  large  wooden  horse  which  seems  to  be 
copied  from  the  horse  in  Donatello's  monument  of  Gattamelata  (p.  273). 
Behind  the  horse  is  the  tombstone  of  T.  Livius  Halys,  a  freedman  of  the 
family  of  the  historian  Livy(p.  376).  The  walls  are  adorned  with  300 
frescoes,  painted  after  1420  by  Giov.  Mireilo  and  others  (much  retouched), 
representing  the  influence  of  the  constellations  and  the  seasons  on  mankind. 

—  The  logge  contain  Roman  inscriptions  and  other  antiiiuities. 

Adjacent,  in  the  Piazza  dull'  Unita  d'lTALiA  (formerly  P.  de' 
Signori;  PI.  C,  4),  rises  the  Loggia  del  Consiglio,  a  fine  early-Re- 
naissance work  by  Ann.  Bnssano  (ibOi),  consisting  of  an  open  arcade 
above  a  broad  flight  of  steps,  and  containing  a  statue  of  Victor 
Emmanuel  II.  by  Tabacchi.  The  interior,  by  Biagio  Bigio,  was  not 
completed  until  1523-26.  In  front  stands  an  aucient  Coiwmn  (erected 
here  in  1405)  with  the  Lion  of  St.  Mark  (p.  245). 

At  the  end  of  the  piazza,  where  the  castle  erected  by  Uber'*lno 
da  Carrara  (p.  277)  in  l33rS-44  formerly  stood,  is  the  Pal.  del 
Capitanio,  once  the  seat  of  the  Venetian  governor,  which  was  rebuilt 
by  Falconetto  in  1532,  with  a  Renaissance  portal  and  an  imposing 
clock-tower.  Of  the  castle  of  the  Carrara  there  only  remain  the  Sala 
dei  Giganti  in  the  University  Library  (PI.  B,  4),  with  a  portrait  of 
Petrarch  by  Altichiero  (the  other  frescoes  by  Altichiero,  Avanzo, 
and  Guariento  were  completely  retouched  in  1540),  and  a  fragment 
of  a  two-storied  loggia  in  the  court  of  the  Sciiola  Reale  Carrarese 
(entr.  Via  dell'  Accademia). 

The  Cathedral  (PI.  B,  4),  with  an  unfinished  facade,  was  built 
by  Andr.  delta  Valle  and  Ag.  Righetto  in  1551-77,  in  the  late-Re- 
naissance style.  The  Treasury  (Tesoro)  contains  miniatures  of  the 
12-15th  centuries  and  handsome  ecclesiastical  vessels.  Adjoining 
the  cathedral  on  the  N.  is  the  Baptistery,  an  elegant  brick  structure 
of  the  12th  cent.,  adorned  with  frescoes  of  1380,  ascribed  to  Giusto 
Padovano  (opened  by  the  sacristan). 

In  the  adjacent  Episcopal  Palace  (Vescovado)  is  a  hall  with  portraits 
of  the  bishops,  painted  in  fresco  by  Montagnana,  and  a  chapel  with 
charming  early-Renaissance  decoration  (1491).  The  adjacent  library  of 
the  Cathedral  Chapter  contains  an  interesting  painting  by  Semitecolo  of 
Venice  (1367). 

The  Casa  degli  Specchi,  Via  del  Vescovado  31  (PI.  B,  C,  4),  is  an 
elegant  Renaissance  structure  in  the  style  of  the  Lombardi  (p.  290). 


Sunt'  Antonio.  PADUA.  44.  Route.    273 

From  the  Via  Otto  Febbraio  (p.  271)  the  Via  San  Francesco, 
skirting  the  S.  side  of  the  university,  leads  to  the  Ponte  San  Lorenzo 
(Pi.  D,  4).  No.  3358  in  this  street  is  Dante's  House  (comp.  p.  278). 
At  the  corner  of  the  street  almost  opposite  it  is  a  niedicsval  sarco- 
phagus of  1283,  known  as  the.  Tomb  of  Antenor  (comp.  p.  270). 

A  few  paces  farther  on  is  the  Via  del  Santo,  leading  to  the  right 
to  the  (6  min.)  Piazza  del  Santo  (PI.  L),  5).  Here,  in  front  of  the 
church,  rises  the  equestrian  **Statue  of  Gattamelata  (Ernsmo  da 
Narni ;  d.  1443),  general  of  the  army  of  the  Republic  of  Venice  in 
1438-41,  by  Donatella,  the  first  great  equestrian  monument  cast  in 
bronze  in  Italy  since  antiquity,  completed  in  1453. 

Sant'  Antonio  (  PI.  D,  E,  5),  the  sepulchral  church  of  St.  Anthony 
of  Padua  (b.  at  Lisbon,  d.  1231 ;  an  associate  of  St.  Francis  of 
Assisi),  commonly  called  ^11  Santo',  was  begun  in  1232;  the  nave 
was  completed  in  1307,  and  the  remainder  in  1424.  The  church 
was  restored  in  1749  after  a  fire  and  whitewashed  in  the  interior. 
This  unattractive  structure  is  126  yds.  long  and  60  yds.  broad 
across  the  transepts.  It  has  seven  domes,  heightened  in  1424,  of 
which  the  largest  is  125  ft.  high.  This  church  is  visited  every  year 
by  crowds  of  pilgrims. 

The  modern  bronze  doors,  by  Camillo  Boiio  (1895),  replace  the  ancient 
doors  of  wood.  Four  Gothic  niches  in  the  central  portal  contain  statuettes 
of  SS.  Francis,  Louis  of  Toulouse,  Anthony,  and  Bonaventura,  the  chief 
saints  of  the  Franciscan  order.  In  the  lunette  above  are  SS.  Bernardino 
and  Antonio  holding  the  monogram  of  Christ,  a  fresco  by  Mantegna  (1452). 

The  Interior  has  recently  lieen  repainted.  The  nave  and  aisles  are 
borne  by  twelve  pillars;  the  semicircular  choir  has  eight  clustered  columns, 
an  ambulatory,  and  a  series  of  eight  chapels.  —  On  the  entrance-wall,  to  the 
right,  is  the  tomb  of  Ant.  Trombetta,  by  Riccio  (1522). 

Nave.  On  the  right  and  left  near  the  beginning  are  two  holy-water 
basins,  with  statuettes  of  John  the  Baptist,  by  Tullio  Lonibardo  (/)■,  and 
Christ,  by  Tiz.  Aspetti.  —  By  the  2nd  pillar  on  the  left,  Monument  of  Aless. 
Coiilarini  (d.  1553),  Venetian  general,  with  six  slaves  as  supporters,  by 
Sanmicheli,  Al.  Viltoria,  and  others.  By  the  2nd  pillar  on  the  right,  the  sim- 
ple and  chaste  monument   of  Card.  Pietro  Bembo  (d.  1547),  by  Sanmicheli. 

Right  Aisle.  1st  Chapel:  on  the  left,  the  sarcophagus  of  General  Gatta- 
melata (sec  above),  and  on  the  right,  that  of  his  son  Giovanni  da  Narni  (d.  1455), 
probably  an  early  work  by  Bart.  Bellano  of  Padua,   a  pupil  of  Donatello. 

RicnT  Transept.  Cappella  San  Felice,  formerly  San.  Jacopo,  erected 
about  1372-82  by  Andriolo  de  Sanctis  of  Venice,  restored  in  1773,  with  a 
new  organ  and  'Frescoes  by  Altichierio  (1376),  chief  representative  of  the 
earlier  Verona  School  fji.  215),  and  his  assistant  Avanzo.  Behind  the  altar, 
a  Crucifixion,  in  three  parts.  In  the  lunettes  above  and  on  the  side-walls, 
scenes  from  the  legend  of  St.  James.     Best  light  in  the  afternoon. 

Left  Transept.  'Cappella  del  Santo,  a  florid  late-Renaissance  edifice 
begun  by  Giov.  Minello  after  Riccio  s  design  (1500)  and  continued  by  Jac. 
Sansovino  and  Falconetto,  with  four  columns  in  front,  and  two  elegant 
corner-pillars;  between  the  arches  are  the  Evangelists.  Walls  embellished 
with  nine  high  reliefs  of  the  16th  cent..  Scenes  from  the  life  of  St.  Anthony 
(beginning  to  the  left  of  the  altar):  1.  Ordination  of  St.  Anthony,  by  Antonio 
Minello  (1512) ;  2.  Resuscitation  of  a  murdered  woman,  by  Giovanni  Denlone; 
3.  Resuscitation  of  a  youth,  by  Girolatno  Campagna ;  4.  Resuscitation  of  a 
suicide  surrounded  by  women,  by  Jac.  Sansovino;  5.  Resuscitation  of- a 
child,  by  Minello  and  Sansovino  (1528);  6,  7.  Tullio  Lombardo  (1525),  Dis- 
covery of  a  stone  in  the  corpse  of  a  miser  instead  of  a  heart,  and  Healing 
of  a  youth,  who  having  struck  his  mother  in  anger  had  punished  himself 

Baedeker.   Italy  I.    13th  Edit.  18 


274   Route  dU.  PADUA.  Scuola  del  Santo. 

by  cutting  off  his  leg:  8.  Conversion  of  a  heretic  by  a  miracle  with  a  glass, 
by  Gian  Maria  da  Padova  and  Paolo  della  Stella  (1529);  9.  St.  Anthony  giving 
speech  to  an  intant  1o  enabJe  it  to  prove  its  mother's  innocence,  by  Antonio 
Lombardo  (1505;  beautiful,  but  somewhat  cold,  and  inspired  by  a  study  of 
Greek  sculpture).  The  bones  of  the  .saint  repose  beneath  the  altar,  which 
is  adorned  with  many  votive  tablets.  Two  magnificent  silver  candelabra, 
borne  by  angels  in  marble.  Beautiful  white  and  golden  ornamentation  on 
the  ceiling  by   Tiziano  Minio  (ca.  1540),  from  designs  by  Sansovino. 

Left  Aisle.  Adjoining  the  Cap.  del  Santo  is  tne  baroque  monument  of 
Caterino  Cornaro  (d.  1674),  'Dalmatiee,  dein  Cretee  cum  summa  potestate 
legatus',  by  Oiitsto  le  Court ;  to  the  left  is  the  monument  of  the  jurist 
Antonio  RoseJli  (d.  1466),  by  Bart.  Bellano. 

Choir.  The  marble  screen  was  designed  by  Donatello;  on  its  inner 
side  are  twelve  reliefs  in  bronze,  from  the  Old  Testament,  ten  by  Bellano 
(1484-88),  two  (David  before  the  Ark,  Judith  and  Holofernes;  the  3rd  and 
5th  to  the  left)  by  Riccio  (1507).  The  full-length  portrait  of  St.  Anthony, 
by  the  exit  on  the  left,  is  said  to  be  the  best  likeness.  —  The  High  Altar, 
executed  in  1446-50  by  Donatello  and  his  pupils  and  removed  in  l.i76  to 
make  room  for  an  altar  by  Girul.  Campagna,  was  restored  from  a  not 
very  successful  design  of  Camillo  Boito  in  1895  and  adorned  with  the  original 
sculptures  by  Donatello.  Below  are  twelve  channing  angelic  musicians 
(largely  studio- pieces),  a  fine  ^Deposition  in  the  Tomb,  and  the  symbols 
of  the  four  Evangelists  (studio -pieces).  On  the  anfependium  are  a  Pieta 
and  four  exquisite  ■"Reliefs  in  bronze  (Miracles  of  St.  Anthony).  On  the 
altar  and  parapet  is  a  brazen  crucifix,  with  the  Virgin,  the  tutelars  of 
Padua,  and  four  other  saints.  —  By  the  altar  is  a  bronze  "Candelabrum, 
ll'/a  ft.  high,  by  Riccio,  with  a  variety  of  Christian  and  heathen  represen- 
tations (1507-16). 

Ambulatorx.  To  the  left  of  the  Capp.  del  Santo  is  the  tomb  of  the 
jurist  Raffaello  Fulgoso  (d.  1427),  probably  by  Pitro  di  Niccolli  (p.  327).  Behind 
is  the  Cappella  del  Bealo  Luca  Belludi ,  with  frescoes  by  Oiusto  Padovano 
(1382;  retouched).  Farther  on,  on  each  side  of  the  sanctuary,  are  six 
national  chapels,  recently  repainted. 

The  SANUTUARi'  (adm.  31/2  fr.  for  one  or  more),  added  to  the  church 
in  1690,  contains  a  collection  of  admirable  "Gold smith'' s  Work  of  the  15fh 
and  16th  cent.,  including  the  marshal's  baton  of  Gattamelata,  a  reliquary 
with  the  tongue  of  St.  Anthony,  a  Gothic  censer,  and  a  credence  plate. 

The  Sacristi  contains  mosaics  in  wood  (freely  restored)  executed 
from  Sqiiarcione^s  designs  by  Lor.  and  Crista/,  da  Lendinara.  The  marble 
decoration  is  by  Bart.  Bellano  (1469-72)  —  The  adjoining  Cappella  del 
Capitolo  contains  some  fragmentary  frescoes  by  Giotto. 

The  Gothic  Cloisters,  entered  from  the  S.  aisle,  with  their  wide  and 
lofty  pointed  arches,  contain  many  ancient  tombstones. 

The  Scuola  del  Santo  (PI.  D,  5),  on  the  S.  side  of  the  Piazza 
del  Santo,  the  hall  of  the  brotherhood  of  St.  Anthony,  is  adorned  with 
seventeen  frescoes  (mostly  repainted)  from  the  life  of  the  saint ; 
three  of  them  are  hy  Titian  (1511).  Written  catalogue.  Best  light 
in  the  afternoon ;  fee  50  c. 

By  the  entrance,  to  the  right:  'I.  Titian,  St.  Anthony  causing  an  infant 
to  bear  witness  (see  abovel;  II.  &  III.  Dom.  Campagnola,  Tne  st(me  in  the 
corpse  of  the  miser  (p.  273l,  Miracle  of  the  ass;  IV.  Filippo  da  VeronaCi), 
St.  Anthony  appears  to  the  i)eoplo  of  Padua  and  foretells  the  fall  of  Ezze- 
lino  (p.  2S0);  V.  School  of  Titian,  Death  of  St.  Anthony;  VI.  Giov.  Con- 
tari7ii  CO1  Transferring  the  bones  of  the  saint;  VII.  Oirol.  del  Santo,  Miracle 
with  a  glass  (see  above);  VIII.  Filippo  da  Verona  (?),  Meeting  of  the  saint 
with  Ezzelino;  IX.  Girol.  del  Santo,  Madonna  with  SS.  Francis  and  Anthony; 
X.  Filippo  da  Verona,  Miracle  ot  the  rain;  XI.  Titian,  Resuscitation  of  a 
woman  slain  by  her  jealous  husband  (injured);  "XII.  Titian,  Curing;  the 
boy's  leg  (p.  273);  Xlll.  &  XIV.  disfigured;  XV.  painted  in  1775;  XVI.  also 
by"  a  later  artist;  XVII.  Dom.  Campagnola,  Resus -itation  of  a  child  who 
had  been  drowned. 


Museo  Civico.  PADUA.  44.  Route.    275 

The  adjacent  Cappella  San  Giorgio  contains  twenty-one  ad- 
mirable frescoes  (1377)  by  AUichiero  and  Avanzo  (p.  272). 

To  the  right,  below,  Legend  of  St.  Lucia;  above,  Legend  of  St.  Cath- 
arine; to  Ihe  loft,  above  and  below.  Legend  of  St.  George.  Altar-wall: 
Crucifixion,  Coronation  of  the  Virgin.  Wall  of  the  door:  Flight  into  Egypt, 
Adoration  of  the  JIagi,  Nativity.     Afternoon-light  best. 

To  the  right  of  the  Scuola  del  Santo,  at  the  corner  of  the  Via 
Orto  Botanico,  is  the  Museo  Civico  [V\.  D,  6),  rebuilt  in  1881  by 
Boito,  with  a  fine  fa(,'ade  and  staircase,  containing  the  civic  Library, 
Archives,  and  Collections  of  Antiquities  and  Paintings  (adm.  week- 
days 9-4,  1/2  fr.  ;  Sun.  &  holidays  9-1,  free).  Catalogue  in  prepara- 
tion.   Director,  Dr.  Moschetti. 

In  the  Cloisters  are  columns,  friezes,  and  other  remains  of  a  Roman 
temple,  excavated  near  the  CalTe  Pedrocchi  (aee  p.  270);  also  numerous 
Koman  tombstones,  the  Monument  of  the  Volumnii  (discovered  nt  Mon- 
selico  in  1879;  on  theE.  side),  mediseval  coats-of-arms,  memorial  stones,  etc. 

On  the  upper  floor,  to  the  left,  is  the  Municipal  Picture  Gal- 
lery, containing  numerous  paintings,  though  few  of  importance. 
A  Madonna  by  Romanino  is  the  gem  of  the  collection. 

Anteroom.  Hiccio,  Ualf-iigures  of  the  Madonna  and  Mary  Magdalen, 
from  a  Pitta  (from  San  Canziano  ;  1530).  —  To  the  left  is  the  — 

Sal.\  Emo-Capooilista  (in  three  division^).  Tlie  first  two  divisions 
contain  Italian  plantings  of  the  lo-16th  cent.,  mainly  Venetian.  —  l,«t  Divi- 
sion: To  the  left,  2G.  Style  of  Cima  da  Conegliano,  Entombment;  29.  Vincenzo 
Catena.  Madonna  with  four  saints,  an  early  work;  *3ri.  Marco  Basaiti.  Ma- 
donna between  SS.  Peter  and  Liberale;  3(3.  Morone,  Madonna  in  a  b<  autiful 
landscape.  —  2nd  Division :  To  the  left,  175.  Boccaccio  Boccaccino,  Madonna 
with  two  saints.  —  3rd  Division.    Works  mainly  of  the  17th  century. 

The  Adjoining  Rooms  contain  the  smaller  collections.  R.  I.  Glass, 
majolica  (incl.  the  coat  of  arms  of  a  majolica  painter),  and  porcelain; 
R.  II.  Costumes,  valuable  textiles,  lace;  R.  III.  llronzes,  work  in  silver, 
etc.  ;  A'.  IV.  l<'urniture  and  wood-carving;  in  the  centre,  ivory  carvings, 
engraved  gems,  etc. 

The  CoRRiDOK  to  the  right  of  the  vestibule  of  the  large  hall  contains 
paintings  (14-18th  cent.).  1st  Division:  to  the  left,  3'd9.  Squarcione,  Altyr- 
piece  in  five  sections  with  St.  Jerome  in  the  middle  (ca.  1450;  injured). 
2nd  Division:  to  the  left,  416.  Jac.  Bellini{T),  Christ  in  Hades,  part  of  the 
altar-piece  mentioned  at  p.  309;  Oiorgione,  Two  panels  from  chests  (studio- 
pieces);  439.  Andr.  Rreiitali,  Madonna  adored  by  the  donor,  an  early  work 
(1501).  To  the  right,  536  Roginr  van  der  Weyderi,  Descent  from  the  Cross 
(copy).  3rd  Division  :  to  the  left,  461.  Boccaccio  Boccaccino,  Madonna  (in  an 
old  frame). 

Large  Hall:  End-wall,  Flemish  tapestry  representing  a  procession  ot 
knights;  farther  on,  French  tapestry  (14th  cent.).  Paintings:  G17.  Dom. 
CampatjnoUi ,  Beheading  of  the  Baptist;  opposite,  648.  Tiepolo,  St.  Patrick, 
Bishop  of  Ireland,  healing  a  sick  man. 

Last  Hall.  Back-wall :  "669.  Itmnaninn,  Madonna  enthroned  with  saints, 
in  a  handsome  frame,  from  Santa  Giustina  (1613);  to  the  left,  663.  Rouianino, 
Last  Supper  (15l3l;  66").  Luca  I.onghi,  Martyrdom  of  St.  .Tustina  (1562);  to 
the  right,  672.   Roniani-io,  Madonna  enthroned  with  two  saints  (1521). 

In  the  next  room:  29  paintings  in  tempera  by  Ouai'iento,  Angel,  St. 
Matthew,  Madonna,  etc.,  from  the  chapel  of  the  castle  of  the  Carrara 
(p.  272).  —  The  Last  Rooms  contain  coins  and  medals  of  Padua;  modern 
paintings  and  sculptures.  —  Library:  JIannscripts,  including  the  Codice 
Carrarose  (I4th  cent.),  with  seven  portraits  of  princes;  collection  of  books 
relating  to  Padua.  —  AucmvBs:  Original  documents  concerning  the  canon- 
isation of  SS.  Anthony  and  Francis;  a  'Raccolta  Dantesca',  a  'Raccolta 
Petrarchesca',  etc.  —  We  return  by  a  Passage  containing  prehistoric  and 
Roman  antiquities  discovered  at  and  near  Padua. 

18* 


276   Route  44.  PADUA.  -Santa  Oiustina. 

In  the  Via  Cesarotti,  No.  3950  (E.  of  Sant'  Antonio"),  stands  tlie 
Palazzo  Oiustiniani  (PI.  E,  5),  with  two  '''Sninmer-honses  built  by 
Falconetto  for  Luigi  Corjiaro  in  1524,  with  interesting  frescoes  and 
stucco-work  in  the  style  of  Raphael's  logge,  which,  though  dilapi- 
dated, form  one  of  the  finest  uioiiunieiits  of  that  period. 

A  little  to  the  S.  of  the  Piazza  del  Santo,  at  the  end  of  the  Via 
Orto  Botanico  (p.  275),  lies  the  Botanic  Garden  (PI.  D,  E,  6), 
founded  in  1545  (ring  at  the  gate).    Director,  Prof.  Saccardo. 

The  hothouses  to  the  left  of  the  entrance  contain  an  arancaria  (Aran- 
caria  excelsa)  66  ft.  high,  dating  from  1829,  and  a  small  lAvistona  australis. 
—  Clo-e  by  are  a  Vilex  agnus  cnstus  planted  in  155J  and  the  superb  Palma 
di  Goethe  (Chainaerops  humUis),  21  ft.  high,  planted  about  1585,  visited  and 
described  by  Goethe  in  1786,  and  enclosed  within  a  building  of  its  own 
since  1874.  In  the  wilder  portion  of  the  gardens  are  a  hickory  (Carya), 
118  ft.  high,  planted  in  1760,  and  a  huge  hollow  plane-tree,  planted  in 
1680.  The  main  building  contains  a  valuable  library  and  portraits  of  emi- 
nent botanists  of  all  countries. 

The  Via  Donatello  leads  to  the  W.  from  the  Botanic  Garden  to 
the  large  Piazza  Vittorio  Emanuele  Secondo  (PL  C,  D,  6),  formerly 
the  Prato  della  Valle.  In  the  centre  is  a  shady  promenade  adorned 
with  a  double  series  of  82  statues  of  illustrious  men  connected 
with  Padua.  In  the  inner  row  to  the  left,  Steph.  Bathori,  John  So- 
lieski,  Gustavus  Adolphus,  Livy,  in  the  outer  row  Tasso,  Ariosto, 
Petrarch,  Galileo,  etc.  This  spacious  Piazza  is  deserted  except  at 
the  time  of  the  fair  (fiera),  which  begins  on  the  festival  of  St.  Anthony 
(13th  June)  and  lasts  for  three  days.  —  On  the  W.  side  of  the 
piazza  is  the  Loggia  Amulea  (PI.  C,  6),  a  modern  Gothic  structure, 
used  by  the  judges  at  the  horse-races  held  here  annually  on  12th 
June.  Below  are  marble  Statues  of  Dante  and  Giotto,  by  Vincenzo 
Vela  (1865). 

At  the  S.E.  angle  of  the  Piazza  is  *Santa  Giustina  (PL  D,  7),  a 
Renaissance  church  of  imposing  proportions,  begun  by  Girol.  da 
Brescia  in  1501,  continued  by  Al.  Leopardi  in  1521-22,  and  com- 
pleted in  1532,  with  the  exception  of  the  facade,  by  Moroni  of  Ber- 
gamo. The  interior  consists  of  nave  and  aisles,  flanked  with  rows 
of  chapels;  it  is  364  ft,  long  and  98  ft.  wide,  with  a  transept  250  ft. 
long.  The  aisles  are  roofed  with  barrel-vaulting,  the  nave  with 
three  flat  domes.  The  transept  and  choir  terminate  in  semicircular 
recesses  and  are  surmounted  by  four  lofty  cupolas. 

The  church  is  paved  with  coloured  marble.  Behind  the  high-altar, 
which  contains  the  tomb  of  St.  Justina  (d.  303),  is  the  "Martyrdom  of  St. 
Justina,  by  Paolo  Veronese.  Beautifully  carved  choir  stalls  from  drawings 
of  Campagnola  (1560),  New  Testament  subjects  above,  and  Old  Testament 
below.  In  the  chapel  on  the  right  of  the  choir,  a  Pieta,  a  large  group  in 
marble  by  Parodi  (17th  cent.).  The  sacristy  contains  a  terracotta  statue 
of  the  Madonna  by  Donalello's  assistant  Qiovanni  da  Pisa  (?).  The  old  choir, 
the  only  remnant  of  the  original  church  (entrance  by  door  on  the  right  of 
high-altar)  also  possesses  fine  carved  stalls.  —  The  cloister-courts  are  now 
inaccessible,  being  used  for  military  purposes. 

The  church  of  Santa  Maria  delle  Grazie  in  Vanzo  (PL  C,  5,  6), 
to  the  N.W.   of  the  Piazza  Vitt.  Emanuele  Secondo,    contains   a 


Kremitani.  PADDA.  44.  Route.    277 

Crucifixion,  by  .AIi<-hele  da  Verona  (1505;  injured),  and  a  Madonna 
enthroned  with  four  saints,  by  Bart.  Montagna. 

In  the  Via  Roma  (PI.  C,  5),  beyond  the  bridge,  is  a  round  marble 
tablet  in  the  wall,  marking  the  spot  where  Ezzelino  (p.  280)  doffed 
his  helmet  and  kissed  the  town-gate  on  capturing  Padua  in  1237 
(modern  inBcription). 

In  the  quiet  Piazza  Eremitani,  to  the  N.E.  of  the  town,  is  the 
isolated  group  of  buildings  consisting  of  the  Eremitani  and  the  Ma- 
donna delV  Arena. 

The  Eremitani  (PI.  D,  3),  an  old  Augustine  church  of  the 
middle  of  the  13th  cent.,  restored  in  1880,  is  a  long  building  with 
painted  vaulting  of  wood,  containing  *Frescoes  by  Andrea  Man- 
tegna  and  his  contemporaries  of  the  school  of  Squarcione,  which 
are  among  the  most  important  examples  of  Northern  Italian  art. 

By  the  entrance-wall  are  two  painted  altars  of  terracotta,  probably  by 
Giov.  Minello,  that  to  the  right  with  a  fresco  of  1611.  On  the  right  and 
left  are  the  elaborate  Oothic  tombs  of  Ubertino  da  Carrara  (1338-45)  and 
Jacopo  (il  Minore)  da  Carrara  (1345-50),  by  Andriolo  de  Sanctis  of  Venice, 
brought  hither  from  the  church  of  Sant'  Agostino  (pulled  down  in  1820). 
In  the  centre  of  the  left  wall  is  the  tomb  of  the  jurist  Benavides  (d.  1582), 
by  the  Florentine  li.  Ammanaii. 

On  the  walls  of  the  Choir  are  poor  frescoes,  ascribed  to  Guariento: 
Astronomical  representations,  Scenes  from  the  life  of  St.  Augustine  (re- 
painted), etc.  —  Sacristy  (entrance  from  the  choir,  to  the  left):  Gtiido  Reni, 
John  the  Baptist. 

The  Cappella  Santi  Jacopo  e  Csistofoeo,  adjoining  the  right  transept, 
is  embellished  with  celebrated  frescoes,  now  damaged,  yet  still  very  at- 
tractive, with  ornamentation  showing  the  indebtedness  of  the  School  of 
Squarcione  to  its  study  of  the  antique.  The  Evangelists  on  the  ceiling  are 
the  poorest,  and  probably  the  earliest  part  of  the  work.  The  four  upper 
sections  on  the  wall  on  the  right  are  also  by  inferior  artists;  the  two 
highest  scenes,  representing  St.  James  as  a  worker  of  miracles,  and  St.  James 
before  the  king,  are  by  an  unknov/n  master  (Bono  da  Fcrrara? );  central 
section,  St.  Christopher  with  the  Infant  Christ,  by  Bono  da  Ferrara,  Adoration 
of  the  giant  saint,  by  Ansuino  da  Forl'i.  The  paintings  on  the  wall  and 
vaulting  of  the  recesses  of  the  choir  are  bv  Niccolb  Pizzolo,  an  able  Paduan, 
who  died  young;  the  Assumption  of  the  Virgin  was  probably  finished  by 
Mantegna.  By  far  the  most  important  are  the  'Pictures  with  which  Andrea 
Manlegna  completed  the  cycle  between  1453  and  1459.  The  left  wall 
presents  to  us  the  life  of  St.  James  from  his  call  to  his  execution.  The 
lower  scenes  exhibit  greater  ability  and  matur  ty  than  the  upper,  so  that 
we  can  almost  trace  the  master's  progress  step  by  step.  The  Execution 
and  Burial  of  St.  Christopher,  the  lowest  pictures  on  the  right  wall,  sub- 
sequently added  by  Mantegna,  are  sadly  injured.  —  The  large  terracotta 
altar- relief  of  the  JIadonna  and  saints  is  by  Giov.  da  Pisa,  a  pupil  of 
Donatello  (p.  271),  but  has  been  spoiled  by  a  modern  coat  of  paint. 

On  the  N.  side  of  the  piazza  in  front  of  the  church  is  the 
entrance  (a  battlemented  iron  gate;  if  closed,  ring;  adm.  9-4,  1  fr.; 
Sun.  &  holidays  9-2,  20  c;  on  certain  high  festivals,  free)  to  the  — 

Madonna  dell'  Arena  (PI.  D,  3),  situated  in  an  oval  garden 
which  shows  the  outlines  of  an  ancient  amphitheatre.  The  chapel, 
oblong  in  form,  was  erected  by  Scrovegno  in  1308.  Its  walls  and 
vaulting  are  completely  covered  with  a  series  of  **Frescoes  by 
Oiotto,  most  of  them  well  preserved  (restored  by  Botti).  The  period 


278    Route  14.  PADUA.  Mndonna  delC  Arena. 

of  their  execution  is  determined  by  the  fact  that  Dante  and  Giotto 
met  at  Padua  in  1306  (comp.  pp.  xl  et  seq.).  Morning-light  best. 
Catalogues  are  provided  for  the  use  of  visitors. 

These  frescoes  represent  the  History  of  the  Virgin  and  Christ,  from 
the  apocryphal  Proto-Evangelium  and  the  New  Testament,  and  end,  accord- 
ing to  ancient  cuslom,  with  the  Last  Judgment,  painted  on  the  entrance 
wall.  The  lower  part  of  this  last  work,  much  injured,  was  probably  exe- 
cuted chiefly  by  Giotto's  pupils,  but  the  master-hand  is  revealed  in  the 
youthful  Christ  at  the  top ,  surrounded  by  apostles,  angels,  and  saints. 
The  paintings  on  the  side-walls  are  arranged  in  four  rows,  one  above 
another.  The  Uppermost  Row  (beginning  to  the  right  of  the  choir-arch) 
relates  the  history  of  the  Virgin  from  the  rejection  of  Joachim's  sacrifice 
to  Mary's  bridal  procession.  The  Bivth  of  the  Virgin  and  the  Presentation 
of  (he  Virgin  in  the  Temple  show  scrupulous  fidelity  to  nature.  —  The  Sec- 
ond Row  begins  with  the  Annunciation  (choir-arch ),  and  depicts  the  youth 
of  Christ  and  his  ministry  up  to  the  driving  of  the  money-changers  out 
of  the  Temple.  The  finest  scenes  are  the  Adoration  of  the  Magi,  the  Flight 
to  Egypt,  and  the  Entry  into  Jerusalem.  —  The  grandest  flight  of  Giotto's 
imagination  is  seen  in  some  of  the  paintings  in  the  Third  Row,  mainly 
devoted  to  the  Passion.  The  representation  of  Christ's  sorrows  as  begin- 
ning with  the  Corruption  of  Judas  (to  the  left  of  the  choir-wall)  is  a  fine 
dramatic  touch.  In  the  Crucifixion  Giotto  has  not  only  surpassed  his 
predecessors  in  the  nobility  of  his  conception  of  the  Sufferer,  but  has 
added  a  most  effective  and  pathetic  feature  in  the  small  winged  angels, 
who  show  every  degree  of  sympathy  and  sorrow.  The  gem  of  the  series, 
however,  is  the  Pietd,  or  Christ  wept  over  by  the  Virgin  and  his  friends, 
its  tone  of  composition  being  in  admirable  keeping  with  its  tragic  content. 

—  The  Lowest  Row  consists  of  allegorical  figures  of  the  Virtues  and  Vices 
in  grisaille,  and  leads  up  to  the  Last  Judgment.  The  Christ  enthroned  with 
angels,  above  the  choir-arch,  shows  that  Giotto  was  as  much  at  home  in 
the    domain    of   placid   gracefulness    as    in  that   of  emotion   and   passion. 

—  The  Frescoes  in  thb  Choir  (Death,  Assumption,  and  Coronation  of 
the  Virgin)  are  by  a  later  hand,  and  of  little  importance.  By  the  rear 
wall  is  the  monumerit  of  the  founder  of  the  church  (d.  1336).  On  the  altar, 
in  front  of  thip,  is  a  figure  of  the  Madonna  by  Giovanni  Pisano,  to  whom 
the  statue  of  Scrovegno,  in  the  sacristy,  to  the  left,  may  also  be  ascribed. 

From  the  Madonna  dell'  Arena  we  may  proceed  either  to  the 
N.W.  direct  to  the  Barriera  Mazzini  (p.  271),  or  to  thu  S.W.  through 
the  Via  Cittadella  to  the  Piazza  Garibaldi  (p.  271). 


From  Padua  to  Venice  via  Fusina,  26  M.,  sfeam-tramway  and  steamer 
in  2Vi-2V4  hrs.  (fares  2  fr.  10,  1  fr.  .35  c).  —  Most  of  the  tramway-stations 
are  unimportant.  At  (3'/2M.)  Ponie  di  Brenta  (p.  269)  we  cross  the  Brenta  and 
then  we  skirt  the  Canute  di  Brenta.  —  7  M.  StrA,  with  the  'Palazzo  Fisani, 
built  about  1740  for  the  Pisani  family  of  Venice  by  Count  Frigimelica  and 
F.  M.  Preti,  «nd  bought  in  1^07  by  Kapoleon  I.  for  Eugene  Beauharnais, 
Viceroy  of  Italy.  It  has  now  been  declared  a  national  monument.  The 
magnificent  ball-room  contains  a  huge  ceiling-painting  by  Tiepolo:  the  Glori- 
iication  of  the  Pisani  (1762).  There  is  also  a  beautiful  garden.  —  11  M. 
Dolo  (Alb.  Garibaldi),  also  a  railway-station  (see  p.  269).  —  IS'/z  M.  Mira 
Taglio,  with  the  villas  of  many  Venetian  families.  —  Passing  the  Venetian 
advanced  fort  of  Oriago,  we  reach  (IS'/z  M.)  Malcontenta.  —  2IV2  M.  Fusina 
is  the  terminus  of  the  tramway.     Steamer  to  Venice,  see  p.  285. 


279 
45.  From  Vicenza  to  Treviso. 

37'/2  M.,  Railway  in  2-2'/2  hrs.  (fares  5  fr.  50  c,  4  fr.,  2  fr.  40  c.). 

Vicenza,  see  p.  265.  —  10  M.  Carmignano,  beyond  which  the 
Brenta  is  crossed. 

Ul/o  M.  Cittadella  (ICO  ft.;  Alb.  Itoma;  Cappello),  with  3600  in- 
hah.,  junction  of  the  Padua  and  Bassano  railway  (p.  280).  The 
town,  with  its  well-preserved  mediaeval  *Walls,  was  founded  iu 
1220  by  the  Paduans  for  protection  against  the  Trevisans,  who  had 
built  Castelfranco  in  1218.  The  Cathedral  contains  a  Last  Supper 
by  Jacopo  Bassano. 

21i/o  M.  Castelfranco  Veneto  (146  ft.;  Albergo  delta  Spada,  R. 
2  fr. ;  Albergo  Stella  d'Oro;  Caffh  del  Genio ,  at  the  Spada),  a  plea- 
sant country  -  town  with  5200  inhab.,  in  the  centre  of  which 
rise  the  towers  and  walls  of  its  old  castle,  shaded  by  venerable 
plane-trees.  This  town  was  the  birthplace  of  the  painter  Giorgio 
Barbarelli,  snrnamed  II  Giorgione  (about  1477-1512;  comp.  p.  291), 
a  marble  statue  of  whom  adorns  the  piazza  (1882).  Behind  the 
high-altar  of  the  Cathedral  is  a  **Madonna  with  SS.  Francis  and 
Liberalis  by  that  master  (1504;  restored);  in  the  sacristy  are  fres- 
coes of  Justice,  Prudence.  Time,  Fame,  and  four  Cupids,  by 
Paolo  Veronese  and  Batt.  Zelotti ,  early  works  brought  from  the 
Villa  Soranza  (painted  in  1551). 

From  Castelfranco  Cor  from  Cornuda,  p.  347)  a  visit  may  be  paid  to  the 
Villa  Giacomelli,  near  Maser,  which  may  be  reached  by  carriage  (6  8  fr.) 
in  1^,'a  hr.  (A  pleasant  dotour  may  be  made  by  Asolo  or  hy  Fanzolo,  see  below.) 
—  The  •Villa  Giacomelli  (formerly  Manbi;  nut  always  open),  often  called 
Villa  Mash'  from  the  neighbouring  village  oi  Mas&i\  was  erected  by  Palladia 
(1565-80)  and  is  celebrated  for  its  'Frescoes  by  Paolo  Veronese,  executed 
in  1566-6S  for  the  Venetian  patrician  Marcantonio  Barbaro,  and  ranking 
among  the  master's  best  works.  They  consist  of  mythological  represent- 
ations and  scenes  from  social  life,  grandly  conceived,  while  some  of  the 
illusive  figures  so  common  in  the  later  period  of  art  are  introduced. 
Thus,  by  the  entrance,  a  girl  and  a  page,  who  through  a  half-opened 
door  apparently  watch  the  persons  entering.  In  the  dining-room,  upon 
its  fantastically  painted  architecture .  are  seated  Ceres  with  her  train 
and  Cupids.  The  ceiling  of  the  great  hall  is  decorated  with  the  Councils 
of  the  Gods  and  the  Feast  of  the  Cods  on  Mount  Olympns.  The  chapel 
attached  to  the  villa  contains  stucco-work  by  Al.  Vittoria.  —  About  4l/v!  M- 
to  the  W.  of  Maser,  on  a  prominent  ridge  u  little  above  the  road  to  (13'/2  H.) 
Bassano  (p.  280).  lies  Asolo  (680  ft.;  7»n),  the  city,  now  unimportant,  to 
which  the  widowed  queen  0;itharine  Cornaro  retired  on  her  abdication 
(p.  28;1).  Catharine  retained  her  title  and  'signed  herself  Queen  of  Cyprus, 
.Icrusalem.  and  Arnu-nia,  and  Lady  of  Asolo.  There  she  lived,  dispensing 
justice,  founding  a  pawnshop  for  the  assistance  of  the  poor,  distributing 
corn,  gratis,  in  years  of  distress,  listening  to  the  courtly  conversation  of 
Cardinal  Bembo,  and  amusing  herself  in  the  gardens  of  her  summer-house 
on  the  plain'  (Horatio  F.  Broicji).  The  Parish  Chnrch  contains  a  line  -.iltar- 
piece  (Madonna  wiih  SS.  Anthony  Abbas  and  Basil)  by  Lorenzo  Lotto  (earlv 
work  ;  1506). 

Several  unimportant  stations  are  passed.  —  371/2  M.  Treviso, 
see  p.  345. 


280 

46.  From  Padua  to  Bassano. 

30  M.    Railway  in  11/2-2  hrs.  (fares  4  fr.  20,  3  fr.  15,  1  fr.  95  c.). 
Padua,  p.  270.   —  The  train  crosses  the  Brenta.    12  M.  Cam- 
posampiero. 

From  Camposampiero  to  Montbbelluna,  171/2  M.,  railway  in  '/4-I  hr. 
(fares  2  fr.  20,  1  fr.  65,  95  c).  —  7  M.  Castelfranco  Veneto  (p.  279);  11  M. 
Fanzolo,  with  the  Villa  Emo,  containing  good  frescoes  by  Paolo  Veronese 
and  Batt.  Zelottl  (1551).  —  171/2  M.  MontebeUuna,  see  p.  347. 

201/2  M.  Cittndella  (see  p.  279);  25  M.  Rossano ;  26  M.  Rosd. 

30  M.  Bassano  (420  ft. ;  Alb.  Sant'  Antonio,  near  the  market- 
place, R.  11/2  ir.;  Mondo,  both  good),  a  charmingly  situated  in- 
dustrial town  of  7600  inhab.,  is  the  seat  of  a  bishop.  From  the 
11th  cent,  it  was  ruled  by  the  GhibelUne  family  of  the  Ecelini^  the 
best  known  of  whom  was  the  terrible  Ezzelino  da  Romano  (d.  1259), 
who,  along  with  Enzio  (p.  389),  was  the  champion  of  the  Hoheu- 
staufeu  in  N,  Italy, 

The  houses  of  the  long  market-place  show  traces  of  early 
fagade-painting.  Near  the  market  is  the  Civic  Museum  (10-3,  in 
autumn  10-4;  at  other  times,  fee),  containing  a  number  of  works 
by  the  Da  Ponte  family,  surnamed  Bassano  from  their  birthplace. 

Room  I:  Francesco  Bassano  (father  of  Jacopo),  Madonna  with  SS.  Peter 
and  Paul  (1509) ;  Jacopo  Bassano  (1510-92 ;  the  most  eminent  of  this  group 
of  artists  ,  who  all  paint  in  his  manner).  Nativity  of  Christ  (1568),  and 
St.  Valentine  baptising  a  dumb  girl,  early  works;  Leandro  Bassano  (d.  1623; 
son  of  Jacopo),  Portrait  of  the  Podesta  Capello.  Also.  Pahna  Vecchio, 
Madonna  and  saints,  a  late  work.  —  Room  III:  The  original  models  of 
Canova's  Venus  and  Hebe,  and  casts  of  Canova's  works.  An  adjoining 
room  contains  a  CDllection  of  memorials  of  that  master,  Venetian  engrav- 
ings (Fountain  of  Love,  etc.),  and  drawings  by  eminent  artists. 

The  Cathedbal,  on  the  N.  side  of  the  town,  beyond  the  Piazza 
del  Terraglio  (view),  contains  paintings  by  Jacopo  Bassano :  right, 
Assumption  of  the  Virgin,  with  portraits  of  Charles  V.,  the  Doge 
of  Venice,  the  Pope,  etc. ;  left  of  the  high-altar,  Adoration  of  the 
Child;  right.  Martyrdom  of  Stephen.  —  In  the  church  of  San 
Giovanni  Batttsta  are  a  large  stucco  relief  of  the  Baptism  of  Christ, 
by  Giov.  Minelli,  and  pictures  by  Jacopo  Bassano.  —  The  old  palace 
is  now  partly  occupied  by  the  arciprete  (dean). 

The  promenades  encircling  the  town  command  beautiful  views 
of  the  Alps  and  their  foot-hills  and  of  the  brawling  Brenta,  spanned 
by  a  picturesque  timber  bridge.  —  In  the  suburb  Borgo  Leone  is 
the  Villa  Parolini,  with  a  beautiful  park. 

Bonaparle  defeated  the  Austrians  under  Wurmser  at  Bassano  on 
8!h  Sept.,  179B,  four  days  after  the  battle  of  Rovereto,  having  marched 
hither  from  Trent  in  two  days.  The  covered  limber  bridge  over  the 
Brenta  occupies  the  place  of  one  blown  up  by  the  French  on  that  occasion. 
—  In  1809  Napoleon  erected  the  district  of  Bassano  into  a  duchy  and  con- 
ferred it  upon  Mavei,  his  secretary  of  state. 

Fossagno  (1080  ft. ;  Alb.  Socal),  Canoiia"*  birthplace,  beautifully  situated 
at  the  base  of  Monte  Grappa  (5825  ft.),  10  M.  to  the  N.E.  of  Bassano,  is 
reached  by  a  good  road  (diligence  twice  daily  in  about  21/4  hrs.),  passing 
Romano,   the  birthplace  of  Ezzelino,    and  Crespano.     The  domed  church. 


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VENICE.  il.  Route.   281 

in  the  style  of  the  Pantheon,  liuilt  at  Canova'fl  expense,  contains  his  tomb, 
an  altar-piece  painted  by  him,  and  a  fine  bronze  relief  of  the  Entombment. 
The  Palazzo,  as  his  house  is  called,  contains  models  and  casta  of  his  works. 
From  Bassano  to  Comuda  via  Asolo  and  Masir,  see  pp.  279,  347;  (o 
T7-eiil  via  Teize,  see  p.  21. 

47.  Venice.  + 

The  Railway  Station  (PI.  C.  D,  3)  is  at  the  N.  W.  end  of  the  Canal  Grande. 
The  town-office  is  at  Paoli's,  Piazza  di  San  Marco  118,  N.  side;  Sleeping 
Car  Cos  Ayent,  the  Inspector  at  the  station.  —  Gondolas  (p.  283;  with 
one  rower  1  fr.,  at  night  1  tV.  30c.,  with  two  rowers  double  fare;  each 
light  article  of  luggage  5  c,  heavy  box  20  c.)  are  always  in  waiting.  The 
precauticjn  of  noting  the  gondolier's  number  should  never  be  omitted.  There 
are  also  the  small  steamers  mentioned  at  pp.  2S4.  285,  which  ply  till  about 
midnight  fhand- luggage  free;  trunks  or  cycles  not  carried).  The  Lido 
Exi'iiESS  (p.  2S4)  plies  in  summer  only. 

Arrivsil  by  Sea.  The  sea-going  steamers  {p.  285)  anchor  in  the  Bacino  di 
San  Marco,  opposite  the  Kiva  degli  Schiavoni.  Gondola  from  the  steamer  to 
the  quay  (Piazzetta),  with  one  rower  (day  or  night),  20  c. ;  luggage  as  above. 

Hotels  (comp.  p.  xix).  'Hotel  Royal  Danieli  (PI.  a,  H,  5;  Venice 
Hotel  Co.),  on  the  lliva  degli  Schiavoni  (p.  305;  view),  near  the  Palace  of 
the  Doges,  with  lift,  post  and  railwav-ticket  offices,  R.  from  5,  B.  2,  dej.  4, 
D.  6-7,  pens,  from  13  fr. ;  'Hotel  de  l'Europe  (PI.  b ;  G,  6),  in  the  Pal. 
Giustiniapt,  on  the  Grand  Canal,  entr.  Calle  del  Ridotto,  with  lift  and 
steam-heating,  R.  from  5,  B.  I1/2,  dt^j.  4,  D.  6,  pens,  from  12  fr. ;  -Gkand 
Hotel  (PI.  o,  F,  6;  Venice  Hutel  Co.),  in  the  Pal.  Ferro,  on  the  Grand 
Canal,  with  lift,  R.  from  5,  B.  IV2,  dej.  3V2-4,  D.  5-7,  pens,  from  11  fr., 
three  high-class  houses;  Gkand  Hotel  Britannia  (PI.  c;  G,  6),  in  the  Pal. 
Tiepolo,  on  the  Grand  Cnnal,  with  lift,  steam  heating,  and  garden,  R. 
from  472.  B.  13/4,  d^j.  4,  D.  6-7,  pens,  from  I21/2  (without  dej.  10)  fr.  — 
Somewhat  less  pretentious:  'Grand  Hotel  d'Italie-Balek  (PI.  n;  G,  6), 
Campo  San  JUoise,  with  its  S.  side  facing  the  Grand  Canal,  with  lift,  small 
garden,  and  restaurant  (p.  2^3),  patronized  by  Germans,  R.  3-10,  B.  V/2, 
d^j.  31/2,  D.  5,  pens.  10-15  fr.,  variously  judged;  Gk^nd  Canal  Hotel  & 
Monaco  (PI.  1;  G,  0),  on  the  Grand  Canal,  entr.  Calle  Vallaresso,  near 
the  Piajza  of  St.  Mark,  with  lift,  steam-heating,  and  higher  charges  when 
meals  are  not  taken  in  the  hotel,  R.  31/2-8,  B.  li  2-  dej.  3,  D.  5,  pens.  IO-I8  fr. ; 
Hot.  Beaukivage  (PI.  r;  H,  I,  6;  Venice  Hotel  Co.),  Biva  degli  Schiavoni, 
B.  3  7,  B.  l'/2,  dej.  3V2,  1>.  6,  pens.  9-lli  fr. :  'Hot.  de  Rome  et  Pens. 
Suisse  (PI.  t.  O,  (i;  Venice  Hotel  Co.),  on  the  GyaHaeaTralT-entr.  Calle 
Traghctto,  with  steam-heating  and  small  garden,  R.  from  4,  B.  IV2,  dej.  3, 
D.  4V2,  pens,  from  9  fr. ;  Hot.  Milan  A:  Pens.  Anglaise  (PI.  u  ;  G,  6),  on 
the  Grand  Canal,  entr.  Calle  Traghelto,  with  steam-heating,  R.  from  4, 
B.  IJ/j,  dej.  3  3'/'i-  D.  41/2-5,  pens,  from  10  fr. ;  Hot.  d'Angleterre  (PI.  k; 
H,  5).  Riva  degli  Schiavoni  417S,  B.  from  3,  B.  IV2.  dej.  3,  D.  4V2-6,  pens. 
from  9  fr.,  incl.  wine,  these  four  patronized  by  English  and  Americans; 
6b.  Hot.  Luna  (PI.  f;  6,  6),  to  the  W.  of  the  royal  garden,  close  to  the 


■j-  Venice  is  divided  into  the  six  districts  (Sestieri)  of  Casfello.  San 
Marco,  Cannaregio,  Dorfoduro,  San  Polo,  and  Stmta  Croce,  of  which  the 
first  three  are  on  the  N.E.  side  of  the  Grand  Canal,  the  last  three  on  the 
S.W.  —  The  main  centre  is  the  Piazza  di  San  Marco  (PI.  G,  H,  5),  with 
the  Piazzetta  adjoining  it  on  the  S.  Every  oilier  square  or  open  space  is 
called  Campo,  or,  if  small,  Campitllo.  Calle  is  the  ordinary  word  for  a 
street;  corte  is  a  short  blind  alley;  ruga  or  rvgheila^  a  street  with  shops; 
lalizzada,  the  chief  street  of  a  parish;  fondamenla  or  riva,  a  street  flanked 
on  one  side  by  a  canal.  Rio  is  a  narrow  canal;  riolerrit  is  a  canal  that 
has  been  filled  up.  Sacca  means  an  open  space  (land  or  water)  at  the 
point  where  a  canal  enters  the  lagoon.  —  Comp.  Boerio's  Dizionario  del 
Dialetto  Veneto  (Venice;  2nd  edit.,  1856). 


282    Route  47.  VENICE.  Practical 

Piazza  of  St.  Mark,  with  lift,  E.  41/2,  B.  11/4,  dej.  3,  D.  5,  S.  31/2,  pens, 
pens.  10-12  fr.,  variously  judged;  Bellbvue  (PI.  d;  G,  H,  5),  Piazza  of 
St.  Mark,  entr.  Calle  Larga  San  Marco,  R.  3-4,  D.  4,  pens.  8-11  fr., 
Hot.  Victobia  (PI.  g,  G,  5;  Venice  Hotel  Co.),  in  ihe  Palazzo  Molin,  Ramo 
dei  Fuseri,  in  the  heart  of  the  city,  with  lift  and  steam-heating,  R.  from  2, 
B.  V/2,  dej.  3,  D.  4  fr.,  incl.  wine,  pens,  from  9  fr. ;  Hot.  MStropolb 
(PI.  m;  I,  5),  Riva  degli  Schiavoni  4149,  with  higher  charges  when  meals 
are  not  taken  in  the  hotel.  R.  3-4,  B.  IV4,  dej.  21/2,  D.  3",  pens,  (for  not 
less  than  3  da\s)  8-10  fr.  — Hcjt.  Sandwirt  (PI.  q;  I,  6),  Riva  degli  Schiavoni 
4111,  R.  2-3  "fr.,  B.  60c.,  dej.  21/2,  D.  31/2,  pens.  6-8  fr.,  incl.  wine,  Hot. 
Geumania,  Fondamenta  San  Simeone  576,  opposite  the  station,  with  restau- 
rant, for  pa^i-sing  tourists,  K.  from  2  fr.,  both  plain  but  good;  Hot.- 
Restackant  Neumann,  San  Biagio  2033,  Riva  degli  Schiavoni  (PI.  K,  6), 
R.  IV2-2  fr.,  E.  Sic,  pens.  5-6  fr.,  quite  unpretending.  —  Good  second-class 
hotels,  in  the  Italian  style,  with  trattoria:  Vapore  (PI.  i;  G,  5),  Ponte 
Baratteri,  S.  Marco,  near  the  Merceria  ('omnibus-boat'  at  the  station); 
Cavalletto  (PI.  s;  G,  5),  Ponte  Cavalletto,  near  the  Piazza  of  St.  Mark, 
R.  from  2,  pens,  from  8  fr. ;  Alb.  Op.ientale  &  Cappello  Nero,  behind 
the  Piazza  of  St.  Mark,  entr.  Procnratie  Vecchie,  R.  from  2>/2,  pens,  from 
7  fr. :  Bella  Venezia,  Calle  dei  Fabbri  (PI.  G,  5),  Accaoemia  CAi  Albereiii''), 
Rioterra  di  Sant"  Agne8e(Pl.  E,6,7),  frequented  by  artists,  both  unpretending. 

On  the  Lido  (comp.  Plan,  p.  342):  "Gr.  Hot.  des  Bains  (PI.  1),  on  the 
sea,  8  min.  from  the  steamer-quay,  with  lift  and  fine  garden,  R.  from  4, 
B.  11/2,  dej.  31/2-4,  D.  5-6,  board  8  fr.;  *Grand  Hot.  Hhngaria  (PI.  2),  with 
lift  and  gardon,  R.  from  3,  B.  11/4,  dej.  3,  D.  4,  pens,  from  10  fr. ;  Hot.- 
Pens.  Villa  Eegina  (PI.  6),  with  lift  and  steam-heating,  R.  from  5,  B.  l'/2, 
dej.  3V2,  U.  5,  pens,  from  12  fr. ;  "Gr.  Hot.  Lido  (PI.  3),  on  the  quay, 
with  good  view  of  Venice,  lifr,  cafe- restaurant,  and  garden,  R.  from  3,  dej. 
2V2,  U-  31/2,  board  5V2  fr.,  these  three  only  open  April  Oct. ;  Hot -Pens. 
Ortolanella  (PI.  4),  dej.  I'/z,  D.  2V2  fr.,  Italian;  Alb. -Pens.  Laguna  (PI.  5), 
these  two  at  the  quay. 

Pensions  (see  p.  xx;  even  for  a  short  stav).  Hot. -Pens.  Aurora 
(PI.  p ;  I,  5),  Riva  degli  Schiavoni  4133,  German,  R.  from  21/2,  B.  i,  i6].  2V2, 
D.  372,  pens,  (for  not  less  than  4  days)  7-10  -fr. ;  Pens.  Centrale  Hering, 
Calle  Larga  San  Marco,  Calle  delF  Angelo  403,  pens,  from  7  fr.  (also  R. 
without  pens.);  P.  Visentini,  Santa  Maria  del  Giglio  2465,  pens.  8-10  fr.; 
P.  Internationale,  Via  Ventidue  Marzo  2399,  opposite  the  Hot.  d'ltalie, 
pens  6-8  fr.,  (Temian;  P.  Lewald,  Fondamenta  S.  Vio  743,  near  the  Aca- 
demy, 6-8  fr. ;  P.  Gregory,  Pal.  Barbarigo  (p.  316),  Grand  Canal,  7-9  fr., 
English;  Casa  Frollo,  Fondamenta  delle  Zattere  64,  6-7  fr. ;  Casa  Bonin, 
Corte  Barozzi,  Son  Moise  3112  (6  fr.). 

Hotels  Garnis.  Modekne  Hot.  Manin,  Piazza  of  St.  Mark,  R.  2V2-8fr., 
with  re-taarant ;  Maison  Fontana,  Riva  degli  Schiavoni  4161,  R.  2V2-5  fr. 
(pens,  if  desired);  Maison  S.avote  (PI.  n;  I,  5),  Riva  degli  Schiavoui,  R. 
3-6,  B.  1  fr.,  verv  fair;  Hot.  St.  Marc  (PI.  e;  G,  5),  near  the  Piazza 
of  St.  Mark;  Alb.  Leone  Bianco,  Calle  dei  Fabbri,  Ponte  Dai  8i8  (PI.  G,  5), 
R.  lVi-2  fr.,  modest. 

Furnished  Rooms.  The  following  are  recommended  even  for  a  short 
stay:  Sigvora  VianeUo  -  Gf/iodo,  Casa  Petrarca,  Gaud  Canal  San  Silveslro 
(new  house);  Signora  RambuserA- -  Adami ,  C;impo  San  Mui'-e;  Berini,  Riva 
degli  Schiavoni,  Calle  del  Vin  4640;  Frl-  Keller,  San  Provolo,  Fondamenta 
Osmarin,  Ponte  dei  Carmini4960;  Cilia  di  Trieste.  San  Marco,  Calle  Larga 
370a;  Signora  Schtniitz- Monti,  San  Marco,  Sotfoporiico  Cal'e  dei  Preti 
1263.  —  Private  Apartments  (distinguished  by  a  white  placard  on  the 
shutters ;  list  at  the  Agenzia  Mei-curio,  San  Marco  Calle  Canonica),  not  very 
numerous,  are  dearest  on  the  Grand  Canal  and  the  Hiva  degli  Schiavoni. 
The  Fondamenta  delle  Zattere  (PI.  D,  E,  7)  is  quiet  and  pleasant,  though 
somewhat  remote.  In  summer  rooms  may  be  obtained  al.=  o  on  the  Lido. 
It  is  usual  to  pay  for  a  fortnight  in  advance,  before  which  the  tenant  should 
take  care  that  every  necessary  arrangement  is  made,  Hiitto  compreso''. 

From  June  to  Oct.  the  mosquitoes  are  very  troublesome  at  Venice. 
Travellers  should  then  see  that  their  beds  are  provided  with  mosquito- 
curtains  (zanzarieri)   and   should   keep   their  windows  closed  at  dusk  and 


Note.>.  VENrOE.  47.   Route.   283 

when  there  is  a  light  in  the  room.  The  pastilles  (fidibus  contro  le  zanzare, 
cModi)  sold  by  the  chemists  afford  some  protection,  but  many  people  find 
their  fumes  unpleasant. 

Restaurants  (  Trattorie).  *Bauer-Grunwald,  Via  Ventidue  Marzo,  by 
the  Hotel  d'ltalie  (p.  281),  with  seats  outside,  much  frequented  but  not  cheap. 
—  In  the  Italian  style:  Rcstavrant  Pilsen ,  near  the  N.W.  corner  of  the 
Piazza  San  Marco,  with  a  small  garden;  '  Vapore  (p.  232);  "Cavalletto 
(p.  '<i8'2);  Cappello  Xero  fp  282);  Citld  di  Firen:e,  with  bedrooms,  Salizzada 
San  Mdise  1346  and  Calle  del  Ridotlo  1353,  with  a  small  fiarden,  fair,  in- 
expensive; Bistor.  Panada.  Calle  dei  Specchieri  6i7,  to  the  >r.  of  the  church 
of  St.  Mark  (often  crowded);  Bella  Venezia  (p.  282),  Calle  dei  Fabbri;  Fratelli 
Bonvecckiati  (with  beds),  Calle  dei  Fuseri,  near  Sun  Luca;  Accadeniia  (p.  282), 
Bioterra  di  Sant'  Agnese,  convenient  for  visitors  to  the  Academy.  —  Oysters 
should  not  be  eaten  at  Venice. 

Cafes.  In  the  Piazza  of  St.  Mark ,  S.  side :  Florian,  the  best-known 
caf^,  nnmerou.s  newspapers,  high  charges;  Avrora  (Borsa).  N.  side:  Quadri. 
After  sunset  hundreds  of  chairs  and  small  tables  are  placed  in  front  of 
these  cafes  for  the  u!ic  of  customers.  —  Oiacomiizzi,  Calle  Vallaresso  (PL  G,  6), 
also  wine-ro<ini;  Orientals.,  Riva  degli  Schiavoni  42l'4,  near  the  Doge's 
palace,  much  frequented  in  the  morning,  these  two  somewhat  cheaper.  — 
Confectioner:  Larena,  on  the  N.  side  of  the  Piazza  of  St.  Mark.  —  Tea 
KooM  :   Ortes,  Via  Ventidue  Marzo. 

The  Gondolas  and  Barche  take  the  place  of  cabs  at  Venice.  Their 
'stands'  are  at  the  hotels  and  ferries  (traghelti).  The  light  Venetian  G(yn- 
dolas,  with  a  low  black  cabin  (felze)  and  black  leather  scat,  hold  4-6 
persons.  They  are  first  heard  of  in  a  document  of  1094  and  are  painted 
black  in  conformity  with  a  law  passed  in  the  15th  century.  The  Barca 
or  Batlello  is  a  larger  craft,  carrying  8  persons.  The  heavy  indented  iron 
prow  (/erro),  resembling  a  halberd,  is  partly  intended  to  counterbalance  the 
weight  of  the  rower,  and  partly  as  a  measure  of  the  height  of  the  bridges, 
which  cannot  be  passed  unless  the  ferro,  the  highest  part  of  the  craft, 
clears  them.  The  rower  himself  is  hailed  as  '■Poppe\  from  the  poppa  on 
which  he  stands.  'Coi'o?' i7 /eJz<' means 'to  remove  the  cabin  or  covering'. 
The  shouts  of  the  gondoliers  on  turning  a  corner  are  weird  and  melancholy: 
a-tiel  means  'look  out',  sia  stali,  'keep  to  the  right',  tia  premi,  'keep  to  the 
left',  sia  di  Ittngo,  'keep  straight  on'. 

The  Takifk,  which  must  be  shown  on  demand,  applies  to  the  adjoining 
islands  as  well  as  to  Venice  itself.  Gondola  or  barca  with  one  rower 
('■remo'):  in  the  town,  for  the  first  hour  1-2  pers.  1  fr.,  3-4  pers.  I1/2  fr., 
5  6  pers.  2  fr.,  for  each  additional  half-hour  half  as  much  again ;  outside  the 
toum,  to  the  islands  of  Giudecca,  San  Giorgio  Maggiore,  Lido,  San  Lazzaro, 
Murano,  etc.,  the  charge  is  1/2  Ir.  more  for  every  hour  or  part  of  an  hour. 
At  night  (after  the  street  lamps  are  lit)  30c.  extra  for  every  hour.  For 
a  whole  day  (10  hrs.)  the  charge  is  8  fr.  For  short  distances  a  bargain 
should  be  made.  For  a  second  roicer  double  the  ordinary  fare  is  charged, 
but  a  bargain  may  be  made.  One,  however,  suffices  for  trips  in  the  town 
('■basta  uno').  For  public  festivities  bargaining  is  necessary.  In  addition 
to  the  fare  a  small  fee  is  always  expected  (for  half-day  '/2-I  fr.).  The 
gODdola"!  arc  called  in  regular  rotation,  unless  the  traveller  has  some  special 
choice,  wlien  the  owner  of  the  selected  boat  will  immediately  present  him- 
self. The  visitor  should  then  indicate  what  he  is  willing  to  pay,  e.g.  iSanti 
Giovanni  e  Paolo  mezza  lira  (V2  fr.).  If  the  tarift'  price  is  rejected,  another 
boat  should  he  selected.  If  the  gondola  is  hired  by  the  hour,  the  passenger 
shows  his  watch,  saying  'alV  ora\  If  any  difficulty  arises  if  is  best  to  apply 
to  a  policeman  (  Vigile  munu-ipale),  or  to  lodge  a  complaint,  giving  the  g  ui- 
dola's  number,  with  the  inspector  at  the  municipio  (p.  317).  —  The  Jiam- 
pi»i'  or  ^GanzerC  (hookers),  who  assist  passenjiers  to  disembark,  expect  a 
gratuity  of  2-3  centimes.  Care  should  be  taken  in  embarking  and  disem- 
barking, especially  when  the  tide  is  low,  exposing  the  slimy  lower  steps. 
Ferries  (Traghelti).  Across  the  Grand  Canal  (traghetto  diretto)  for 
1-2  pers.  5,  3-4  pers.  10,   6-6  pers.  20  c.;    oblique    crossing  (traghetto   (rat- 


284    Route  47.  VENICE.  Praclical 

versale)  10,  15,  and  20  c.  From  the  Molo  to  the  Dogana  or  to  San  Giorgio 
Maggiore  for  l-2pers.  15  c,  3-4  pers.  20  c.,  5-6  pers.  30  c.;  to  the  Giudecca 
25  c.;  from  the  Spirito  Santo  or  the  Fondamenta  delle  Zattere  to  the 
Giudecca  15  c. ;  from  the  Molo  to  the  Giardini  Pubblici  50  c. ;  from  the 
Giardini  Pubblici  (gondolas  seldom  to  be  had)  to  the  Lido  for  1-4  pers. 
60  c. ;  from  the  Fondamenta  Nuove  to  the  Cimitero  or  to  Murano  for 
1-4  pers.  30  c.  Double  fave  evei-ywhere  at  night.  The  tariff  is  binding  only 
at  the  fixed  points  shown  on  the  Plan;  travellers  should  let  it  be  distinctly 
understood  when  they  wish  the  'traghetto'  only.  The  passenger  usually 
deposits  the  fare  on  the  gunwale  on  landing. 

Steamers.  The  small  steamboats  (Vaporelli  comunali)  of  the  muni- 
cipality ply  on  the  canals,  except  in  case  of  fog.  Passengers  pay  on 
quitting  the  boat;  change  may  be  obtained  beforehand  from  a  purser 
appointed  for  that  purpose. 

1.  From  the  Oiardini  Puhhlici  {PI.  L,  7)  to  Santa  Chiara  (PI.  C,  4}  by 
the  Grand  Canal  (from  April  to  Oct.  from  the  Lido  via  the  Giardini  Pub- 
blici to  Santa  Chiara  until  7.30  p.m.),  every  10  min.  (1st  Nov.  to  31st  March 
every  12  min.)  from  6  a.m.  till  dusk;  fare  10  c.  for  any  distance  (from 
the  Lido  to  beyond  the  Oiardini  Pubblici  20  c.).  The  vo}  age  to  the  station 
from  the  Lido  takes  ^/t  lir.,  from  San  Marco  26  minutes.  Between  the 
Jiiva  del  Carbon  and  the  Railway  Station  ;ind  (when  the  Internalional  Art 
Exhibitions  are  open  ;  p.  2SG)  between  San  Marco  and  the  Giardini  Pubblici 
the  steamers  also  ply  every  1/4  l^'-  from  sunset  till  midnight  (10  c).  — 
Stations  {pontoni;  comp.  the  Plan):  Lido  (p.  341),  in  summer  only  (see 
below);  Giardini  Pubblici  (PI.  L,  7);  Veneta  Marina  (PI.  K,  6),  for  Via  Gari- 
baldi and  the  Arsenal ;  San  Zaccaria  (PI.  H,  5),  on  the  Riva  degli  Schiavoni ; 
San  Marco  (PI.  G,  G),  by  the  Calle  Vallaresso,  a  side-street  running  off  the 
Salizzada  San  Moise  (p.  305);  Santa  Maria  del  Giglio  (PI.  F,  6);  Accademia 
(PI.  E,  6),  for  the  picture-gallery  of  the  Academy;  San  Toma  (PI.  E,  5), 
for  the  church  of  the  Frari;  SanC  Angelo  (PI.  F,  5);  San  Silvcttro  (PI.  F, 
4,  5);  Carlion  and  Rialio  (PI.  G,  4),  for  the  church  of  San  Salvatore  and 
the  Rialto  Bridge  (Carbon  for  travellers  towards  the  railway-station,  Rialto 
for  those  going  towards  the  Piazza  San  Marco);  Ca  d'Oro  (PI.  F,  3),  for 
Santa  Caterina  and  Madonna  dell'  Orto;  Museo  Civico  (PI.  E.  3) ;  San  Gere- 
mia  (PI.  E,  3j;  Scahi  (PI.  D,  3)  and  Santa  Lucia  (PI.  D,  4),  for  the  rail- 
way-station, the  former  for  those  going  towards  the  Piazza  S.  Marco,  the 
latter  for  those  arriving  at  the  station ;  Santa  Chiara  (PI.  C,  4),  for  the 
Giardino  Papadopoli.  ' 

2.  From  the  Riva  degli  Schiavoni  (PI.  H,  5,  6)  to  the  Lido  {Santa  Maria 
Elisabetia;  comp.  the  Plan,  p.  342):  From  the  Ponte  delta  Paglia  every 
'/•2  hr.  in  the  morning,  from  midday  to  midnight  every  20  min.  (in  April 
and  May  hourly  in  the  morning ;  in  winter  8  limes  daily),  in  '/^  l""-  ('are  15, 
there  and  back  30  or,  incl.  adm.  to  the  Stahilimento  dei  Bagni,  50  c.;  the 
same,  incl.  tramway,  60c.;  the  same,  incl.  bath,  1  fr.  30  c.). 

3-  From  the  Riva  degli  Schiavoni  (PI.  H,  5)  to  the  Lido  (San  Mcold), 
hourly  from  6  30  a.m.  till  sunset  (10  c. ;  of  little  interest  to  strangers).  The 
steamers  start  near   the  Victor  Emmanuel  monument. 

4.  From  the  Riva  degli  Schiavoni  (PI.  H,  5,  C)  to  San  Giorgio  Maggiore 
(PI.  H,  7),  Santa  Croce  (PI.  F,  8),  Fondamenta  delle  Zattere  (PI.  E,  7),  Sanf 
Eufemia  (PI.  D,  7),  the  Cotonijicio  (PI.  B,  6),  and  the  Stazione  Maritlima 
(PI.  A,  6);  hourly,  from  6  a.m.  till  sunset  (10  c). 

5.  From  the  Fondamenta  delle  Zattere  (PI.  E,  7)  to  the  Giudecca  (Pl.E,  8), 
every  5-10  min.  from  5  a.m.  till  10  p.m.  (in  summer  till  11  p.m. ;  5  c). 

The  Lido  Express  Steamer  of  Ihe  Societa  dei  Bagni  di  Lido  (p.  281) 
plies  7  times  daily  from  A(iril  till  Oct.  from  the  Lido  (Santa  Maria  EUsabeiia, 
see  above)  and  the  Station,  meeting  most  of  the  express-trains. 

The  Lagoon  Steamers  of  the  Societa  di  Navigazione  Lagunare  maintain 
the  service  to  ihe  more  distant  points. 

1.  From  the  Fondamente  Nuove  (PI.  H,  3)  to  San  Midiele  and  Murano 
(p.  342),  every  20  min.,  half-hourly  in  the  evening  (10 c). 


Notes.  VENICE.  47.  Route.   285 

2.  From  the  Fondamente  Nttove  (PI.  H,  3)  to  Mazzorbo,  Burano,  and  Tor- 
cello  (see  p.  344),  once  daily  (return  fares  1  fr.  25,  70c.). 

3.  From  the  Rialto  (PI.  G,  4;  see  p.  284)  to  San  Giuliano  and  Mestre 
(p.  269j,  liourly  (50  &  30  c..  oil  Sun.  and  holidays  (10*  40  c);  electr.  light 
railway  from  San  Giuliano  to  Mestre  (p.  269). 

4.  From  the  fii'ra  degli  Schinvoni  (PI.  H,  5,  6)  to  the  Fondamenta  delle 
Zattere  (PI.  E,  7)  and  FuMna,  si.x  times  daily  in  35  min.  (40  and  25  c). 
Steam-tramw.Ty  from  I'usina  to  Padua,  see  p.  278. 

5.  From  the  Kiva  degli  Schiavoni  (PI.  H,  5)  to  Malamocco,  Pellestrina.  and 
Chioggia  (p.  345),  5-6  times  daily  in  2  hrs.  (return  lares  IVa  &  3,4  fr.),  start- 
ing from  the  Pontc  delle  Paglia. 

Motor  Boats  of  the  .S'cci'e^rt  Veneziana  Automobili  Nautiche  may  be  hired 
lor  excursion,?  at  a  fixed  tariQ' (10-30  fr.  per  day),  and  may  be  ordered 
through  the  ImJcls  or  through  Rosen  the  bi  okseller  (p.  286).' 

Sea-going  Steamers  (c(imp.  p.  xviii).  Austrian  Lloyd  (agency  in  the 
Libreria,  Piazzetta)  oii  Wed.  &  Sat.  at  12.30  a.m.  to  Trieste  in  6V2  brs. 
(fares  12  and  8  A'.,  return-tickets,  valid  for  a  fortnight,  IS  and  12  K. ;  com- 
bined tickets,  allowing  the  use  of  the  railway  in  one  direction,  30  fr.  .50 
and  24  fr.  45  c.).  Also  excursion-steamers  on  Sun.  at  8  p.m.  in  summer 
(tare  87i.).  —  Hungarian  Steamship  Co.  (agency,  Piazza  San  Jlarco  118, 
p.  293),  thrice  a  week  in  summer  and  twice  a  week  in  winter  to  Fiuma 
(for  Budapest)  in  10  hrs.  (fares  17,  il^ji  fr.).  —  Xavigazione  Generale 
Italiana  (Florio  Ruhaltino ;  agency.  Via  Veutidue  Marzo  2414)  once  a  week 
to  Trieste,  to  Ancona,  Bari,  and  Brindisi,  and  to  Corfu,  Athens,  and  Con- 
stantinople, and  once  a  fortnight  to  Alexandria. 

Consuls.  —  British,  Signvr  E.  de  Zuccato,  Traghetto  San  Felice,  Grand 
Canal.  —  American,  I'aul  Xash,  Esq. 

Money  Changers:  Banca  Commerdale  Italiana,  Via  Ventidue  Marzo 
2188;  Banca  Veneta,  San  Marco,  Ascensione  1255;  Drag,  Mayer,  &  Co.,  Bocca 
di  Piazza  1239,  these  two  to  the  W.  of  the  Piazza  San  Marco;  Cook  &  Son 
see  below. 

Goods  Agents.  .  Agenzia  di  Paoli  (p.  281);  Fischer  d-  Rechsteiner,  succ, 
Ponte  delle  Ballote  4700,  near  San  Salvatore  (PI.  G.  5);  Fratelli  Gondrand, 
Calle  Avvocati  3899. 

Tourist  Agents:  Thos.  Cook  &  Son  at  the  Hotel  Bellevue  (p.  282),  Piazza 
San  Marco;  Agen:ia   di  Paoli  (p.  281),  Piazza  San  Marco  118. 

Baths.  The  excellent  'Lido  Sea  Baths  are  the  best  (season  from  May 
to  Oct. ;  temperature  of  the  water  70-80°  Fahr.).  From  Santa  Maria  Elisa- 
beita  (hotel- restaurants),  the  landing-place  of  the  steamers  of  the  three 
lines  mentioned  on  p.  284,  a  tramway  (10  c.)  runs  across  the  island  to 
(I/3  M.)  the  Stabilimento  dei  Bayni,  with  a  concert-room,  a  terrace  over- 
looking the  sea,  and  a  cafd-iestaurant  (dej.  2V2,  D.  4  fr.).  Bath  1  fr.  (ladies 
to  the  left,  mixed  bathing  to  the  right);  less  to  subscribers;  private  plunge 
bath  (salt  or  fresh  water),  l'/2-2  fr. ;  for  taking  care  ofvalual)les  10  c. ;  fee 
to  attendant  10  c.  Connected  with  the  baths  is  an  open-air  theatre  (tickets 
on  board  the  steamer).  —  Warm  Baths  at  the  Stabilimento  Idroterapico, 
Pal.  Orseolo,  San  Gallo  1092  (PI.  G,  5).  —  Liecx  d'Aisance  (cessi ;  10  c), 
Calle  dei  Fabbri  (PI.  G,  5),  near  Piazza  S.  Marco,  N.  side;  Campo  S.  Bar- 
tolomeo,  by  the  Ponte  Rialto ;  Rio  Terra,  near  the  station;  Riva  degli 
■Schiavoni,  San  Biagio. 

Post  Office,  in  the  Fondaco  dei  Tedeschi  (PI.  G,  4;  p.  318),  near  the 
Rialto  Bridge,  open  from  8  a.m.  till  9  p.m.  Branch -office  on  the  Lido, 
beside  the  Stabilimento  dei  Bagui  (in  summer  onlv).  —  Telegraph  Office 
(PI.  G,  6),  Bocca  di  Piazza,  to  the  W.  of  the  Piazza  of  St.  Mark  (also  a 
branch  post-oflice),  and  on  (he  Lido. 

Theatres.  La  Fenice  (PI.  F,  5,  6),  Campo  San  Fantino,  built  by  Gior. 
Ant.  Selva  in  1791  and  restored  after  a  fire  in  1836,  holds  30P0  spectators; 
operas  and  ballets  ([lerl'ormances  only  during  the  carnival).  Teatro  Rossini 
{PI.  F.  5),  San  Benedetto;  Teatro  Goldvni  (PI.  G,  5),  Calle  dei  Fabbri. 
The  Teatro  Malibran  (PI.  G,  4)  is  a  popular  theatre.     In  winter  A/nr!ci«e«e 


286   Route  47.  VENICE.  Practical 

Theatre,  Via  Ventidue  Marzo  (6-9  p.m.).  The  box-office  for  all  the  theatres 
is  at  No.  112,  Piazza  San  Marco  (N.  side).  —  'Facanapa',  a  popular  Venetian 
stage-character,  may  be  seen  at  the  Jlarioiiette  Theatre.  'Pantaloon''  (-Pan- 
taleone')  on  the  Venetian  stage  is  a  respectable  medical  man. 

Booksellers.  S.  Rosen,  Piuzza  uf  St.  Mark  40;  Ongcniia,  with  Icuding- 
library,  Piazza  of  St.  Mark,  S.W.  corner.  —  Reading  Rooms,  t'ondazione 
Querini  Stampalia  (PI.  H,  4,5;  p.  325),  with  library,  some  Italian  periodi- 
cals, and  a  few  political  papers,'  open  11-5  (Sun.  and  holidays  'J-1'2;  adm. 
free,  on  application  to  the  librarian).  Also  Aieneo  Veneto,  Campo  San  Fan- 
tino  (PI.  F,  5),  with  periodicals  and  library  (adm.  25  c).  —  Newspapers. 
Gazzetta  di  Venezia,  L'Adriaiico ,  La  Di/esa  (clerical),  and  Jl  Oazzettino 
(socialist;  3  c). 

Photographs:  Ant.  Genova.  Piazza  of  St.  Mark  63;  Alinari,  Salizzada 
San  Moise  1348;  Saya,  Piazza  of  St.  Mark  75;  Salviaii  (architectural 
pieces).  Piazza  of  St.  Mark  45;  Compagnia  Eotogrotica,  Salizzada  San  Moise 
1347.  Photographic  materials:  Compagnia  Rotografica;  Dr.  Jordan,  Piazza 
of  St.  Mark  79;   Gaio  (Anderson's  photographs). 

Shops.  The  recommendations  and  even  the  attendance  of  guides  or 
boatmen  increase  the  prices  (comp.  Introd.,  p.  xxv).  Bargaining  is  advifaWe 
in  most  cases.  The  best  shops  are  in  the  Piazza  of  St.  Mark  (generally 
dearer  than  elsewhere),  in  the  Merceria  (p.  321),  in  the  Frezzeria  (p.  Sl'O), 
entered  from  the  W.  end  of  the  Piazza  of  St.  Mark;  and  in  the  Salizzada 
San  Moisi  (p.  305).  The  Venetian  glass,  wood  -  carving,  lace,  jewellery, 
mosaics,  bouk-bindings,  etc.,  are  excellent  of  their  kind. 

The  Venetian  Glass  Industry  is  described  at  p.  343.  The  chief  manu- 
factories, neai'ly  all  at  Muraao  (p.  343),  with  shops  and  offices  in  Venice, 
are  those  of  the  Compagnia  de'  Vetri  e  Mimaici  di  Venezia  e  Murano,  Campo 
San  Vio  731  and  Piazza  San  Marco  68;  Fratelli  Bottacin,  in  the  Pal.  Reale 
(p.  2  8),  Piazza  San  Marco,  and  Campo  Santi  Giovanni  e  Paolo  (also  furni- 
ture, bronzes,  fayence,  etc.);  Salviaii,  Jesunim,  tk  Co.,  Pal.  Bernardo  (p.  316), 
San  Polo,  on  the  Canal  Grande,  with  two  shops  in  the  Piazza  S.  Marco 
(branch  in  London);  Griffon  Freres,  Piax/.a  San  Marco,  in  the  arcades  of 
the  Pal.  lleale;  Pauly  it  Co.,  San  Marco,  Calle  Larga,  Ponte  Consorzi,  Piazza 
San  Marco  71  &  141,  and  Piazzetta  dei  Leoncini;  Erede  Dr.  A.  Salviaii  &  Co., 
Canal  Grande,  San  Gregoriu  195.  —  Venetian  Ornaments :  Valt,  Salizzada 
San  Moise;  Rigo  <i:  Co.,  Pal.  Barbarigo  della  Terrazza  (ii.  316),  Canal  Grande, 
and  Campo  San  Moise;  Al.  Doge,  Piazza  San  Marco  62;  Podio,  San  Marco, 
Ascensione  1301.  —  Jewellery:  Pallotti,  Piazza  San  Marco  132;  ilissaglia. 
Piazza  San  Marco  129.  —  Bookbindings:  S.  Rosen  anA  Ongania  (see  above), 
both  in  the  Piazza  of  St.  Mark.  —  Lace  (fixed  prices).  Shop  of  the  Reale 
Scnola  Merlitti  di  Burano  (Royal  School  of  l.ace-making  at  Burano;  p.  344), 
on  the  W.  side  of  the  Piazza  San  Marco  (in  the  passage  leading  to  the 
telegraph  office);  Melville  &  Ziffer,  Campo  San  Moise  1463;  Jesurum  it  Co., 
Santi  Filippo  e  Giacomo,  near  the  Ponte  di  Canonica  (p.  324). 

Sculptors  (in  wood).  Besarel,  San  Barnaba,  Canal  Grande;  V.  Cadorin, 
Santa  Maria  del  Carmine,  Fond.  Briati  2534.  —  Antiquities  and  Objects 
of  Art:  Salvadori,  Pul.  Moro-Lin  (p.  3i6),  Canal  Grande;  Barozzi,  Corte  del 
Duca  Sforza  (p.  315),  Canal  Grande ;  Minerbi,  in  the  Frezzeria  (see  above). 

Painters.  Italian:  E.  Tito,  San  Trovaso,  Toletta,  Campiello  dello  Sqnero 
1171;  Prosdocimi  (water-colours),  San  Trovaso,  Campiello  Grotto  1040; 
P.  Fragiacomo,  San  Angelo  Rafaelle,  F.  Briati  2537;  0.  Cini-di,  Millo  Bor- 
tuluzzi,  Bresanin,  San  Barnaba  Nos.  3129,  3120,  and  2623;  C.  Laurenti, 
San  Gregorio  3i8;  Milesi,  F.  Ognissanti  1458;  L.  Nono.  F.  delle  Zattere 
1486;  S.  Rota,  Ponte  Lungo  929,  Zattere.  —  American:  C.  G.  Dyer,  Grand 
Hotel.  —  German:  Prof.  Blaas,  Sant'  Angelo  Rafaelle,  Calle  dei  Guardiani 
2406  A ;  C.  van  Eahnen,' Sun  Barnaba  3074  ;  Ruben,  Campiello  delle  Masche  82, 
San  Pantaleone;  A.   Wolf.  S.  Trovaso,  Fondamenta  dell'  Eremite  1332. 

International  Art  Exhibition  held  every  two  years  (1907,  1909,  etc.) 
in  the  Giardini  Pubblici  (p.  329),  from  April  to  October. 

Religious  Services.  English  Church.  Campo  San  Vio  731;  services  on 
.Sun.  at  8,  10.30,  and  3.30  (in  summer  5.30).     Rev.  Prebendary  Lonsdale  Ragg. 


Note.o.  VENICE.  47.  Route.    287 

B.  II.,  Pal.  Contarini,  Calle  Coniarini-Ccirfu  1018.  —  Scottish  Church,  Piazza 
S.  Marco  95,  SoUoporlico  deJ  Cavalletto;  serv.  Sun,  11.15  and  4.  Rev.  Alex. 
Jioherison,  D.D.,  Ca'  Struan,  Ponte  della  Salute.  —  Italian  Episcopal  Me- 
thodist Church,  Campo  S.  Margherita.  —  Italian  Baptist  Church,  Campo 
della  Guerra.  —  Waldensian  Church,  Pal.  Cavagnis,  near  the  Ponte  Cavagnis. 
—  German  Church.  Cauipa  Santi  Apostoli.  —  Greek  C/.urch ,  San  Giorgio 
del  Grt'ci  (p.  328;  Suu.,  10  a.m.).  —  Sailors"  Institute,  San  Simeone  Piccolo 
353 ;  Missionary,  Mr.  E.  Fussey.  —  Industrial  Home  for  Destitute  Boys,  San 
Giobbe  923,  Cannaregio;  directors,  Mr.  and  Mrs.  Antonini  (visitors  wel- 
come;  articles  in  carved  wood). 


The  Climate  of  Venice  is  tempered  by  the  sea  and  the  Lagune,  though 
cold  N.E.  winds  and  thick  fogs  are  not  uncommon  in  winter.  The  mean 
temperature  of  the  year  is  56.5°  Fahr. ;  that  of  January,  the  coldest  month, 
32.6°;  of  February  39.1°;  March  46.2°;  April  5«.7°;  May  66.7°;  June  72.1°, 
July  76.4°;  August  74.6°;  September  C5. 5°;  October  58.8° ;  November  46.5°; 
December  39°.  The  air  is  very  humid,  and  often  favourable  to  catarrhal 
affections,  but  rheumatism  is  prevalent.  Its  perfect  immunity  from  dust  is 
one  of  the  chief  advantages  of  Venice,  and  nervous  patients  will  find  an- 
other in  its  noiseless  highways.  The  water-works  supply  drinking-water 
from  the  district  of  Castelfranco  (p.  279).  Invalids  who  intend  wintering 
in  Venice  should  choose  rooms  with  a  southern  a.spect.  The  warmest  parts 
of  the  town  are  the  Riva  degli  Schiavoni  and  the  Fondamenta  delle  Zattere. 

Physicians:  Dr.  Van  Someren  (English),  Pal.  Tasso,  Campo  San  Pnio; 
Dr.  Fr.  Kep/>ler  (German,  speaks  En^li-shi,  Palazzo  Corner  Mocenigu  (p.  334), 
San  Polo  2128  (2  p.m.);  Dr.  W.  Keppler  (German),  San  Giuliano  555; 
Dr.  Werner  (German),  Pal.  Falier  (p.  315),  Santo  Stetano,  Calle  Vetturi 
29(.8  (2-4  p.m.);  Dr.  V.  Alagno,  Santo  Stefano,  Campo  San  Vidal  '2894;  Dr. 
Matsaria.  San  Moise,  Campiello  Teatro  2243;  Dr.  G.  Cava:zari,  San  Luca, 
Calle  del  Fu.'eri  4214.  —  Dentists.  Stei-nfeld,  Calle  del  P.'slriu  2316; 
Dr.  Eotelli,  San  Luca,  Fondamenta  Cavalli  4091;  Maggioni,  Santo  Stefano. 
Campo  San  Vilale  2885.  —  Chemists:  Zampironi,  Saliz^ada  San  Jloise  1494 
(PI.  G,6l;  Biitnifr,  Ponte  Sant'  Antoniuo  3305  (also  mineral  waters);  Jilan- 
totani,  San  Marco.  Calle  Larga  413;  Ponci.  San  Marco  Ponte  dei  Baratteri, 
near  the  Merceria. 

Cos.Moi'OLix.\N  HosriTAL,  Giudecca,  under  English  management. 


Plan  of  Visit.    For  a  stay  of  3-4  days  the  following  is  recommended. 

Afternoon  or  Evening  of  arrival.  Preliminary  Voyage  from  the  Piazzetta 
through  the  Grand  Canal  (p.  313)  to  its  extremity  and  under  the  railway 
bridge;  then  back  to  the  Ponte  Kialto,  where  we  land  to  walk  through  the 
Merceria  (p.  321)  to  the  Piazza  of  St.  Mark  (p.  293);  about  2  hrs.  in  all. 

1st  Day.  Palace  of  the  Doges  (p.  2&9);  S.  Marco  (p.  294).  In  the  after- 
noun,  /S.  Scbastiano  (p.  33S),  Redentore  (p.  341),  S.  Giorgio  Maggiore  (p.  3i0; 
ascend  campanile).      In  the  evening,  Piazza  of  St.  Mark  (p.  293). 

2nd  Dav.  S.  Maria  deila  Salute  (p.  3j9);  Accademia  di  Belle  Arti 
p.  307).  In 'the  afternoon,  Scvola  di  S.  Rocco  (p.  337),  Frari  (p.  335).  Better 
distributed  between  two  days,  if  time  permit. 

3rd  Day.  .S.  Zaccaria  (p.  325);  <S.  Maria  Formosa  (p.  825);  SS.  Giovanni 
e  Paolo  (p.  326);  S.  Giorgio  degli  Schiavoni  (p.  328);  Arsenal  (p.  329);  Giar- 
dini  I'ubblici  (p.  32J).    In  the  afternoon,  the  Lido  (p.  341;  sea-baths,  p.  285). 

4th  Day.  /S.  Salvatore  (p.  3-'l);  S.  Giovanni  Crisostomo  (p.  322);  5.  Maria 
de'Miracoli  (p.  327) ;  Mvseo  Civico  (p.  332).  In  the  afternoon,  excursion  to 
Chioggia  (p.  345)  or  to  Burano  and  Torcello  (p.  3i4).  . 

Admission  is  generally  obtained  to  the  Churches  from  6  a.m.  till  12 
or  1  o'clock,  after  which  apply  to  the  sacristan  (sagrestano,  50  c).  St. 
Mark's,  SS.  (iiovanni  e  Paolo,  and  S.  Salvatore  are  open  all  day.  At  the 
Frari,  Salute,  and  (generally)  S.  Sebastiano  visitors  knock  at  the  door;  at 
the  other  churches  one  of  the  officious  loungers  may  be  sent  for  the  sacris- 
tan (5  c).  During  the  fortnight  before  Easter  the  altar-pieces  are  not  shown. 
'"' Academy  (p.  307) :  week-days,  9-3,  1  fr. ;  on  Sun.  and  holidays^  10-2, 
grati.s;   closed  ou  national  holidays  (p.  x.viv). 


288   Routed?.  VENICE.  History. 

Arsenal  (p.  3^9):  week-days,  9-3,  closed  on  Sun.  and  holidays.  The 
ducks  are  not  shown  without  the  permission  of  the  admiralty. 

Bibliotica  Afnrciana  (p.  298):  week-days,  10-5,  MSS.  only  shown  on 
Sat.,  9-3. 

•"Palace  of  the  Doges  (p.  299):  weekdays,  9-3,  1  fr.  20  c.,  including  the 
Pozzi;  Sun.  and  holidays,  10-2,  gratis;  closed  on  New  Year's  Day,  Easter 
Sunday,  Ascension  Day,  and  Christmas  Day.  The  tickets  are  in  four 
parts  and  are  valid  for  one  day  only.  Guide  wholly  unnecessary.  The 
attendants  are  ready  to  give  what  inf.jrmation  is  required. 

Fondazionc  Querini- Slampalia  (p.  Sto):  on  Sun.  &  Thura.,  9-4. 

Gallerin  latevnazionale  if  Arte  Moderna  (p.  331):  week-days,  9  4,  1  fr. ; 
on  Sun.  and  holidays,  9-2,  gratis. 

Museo  Civico  (p.  332):  daily,  9-3,  1  fr.  (admitting  also  to  the  Cata 
Correr ,  p.  331);  Sun.  and  holidays  free.  The  Museum  is  a  steamboat- 
station  (p.  284). 

Palazzo  Reale  {p.  293):  Sun.  &  Thurs.,  10-3;  fee  1  fr. 

Private  Palaces.  The  only  palaces  regularly  shown  to  the  public  are 
the  Palazzi  Michiel  dalle  Colonne  (p.  318),  Vendramiii-Calergi  (p.  319),  Labia 
(p.  320),  and  Orimani  (p.  317). 

Scuola  di  tian  Rocco  (p.  337),  daily,  9-5  in  summer,  9-4  in  March,  April, 
Sept.,  ife  Oct.,  10-3  in  winter;    1  fr.,  incl.  the  Church  of  S.  Rocco. 

Seminario  Patriarcale  (p.  340;  &alleria  Manfredini),  daily  9-12  and  after 
2  p.m.,  1/2  fr. 

The  gondoliers  name  the  palaces  and  churches  as  they  pass.  Interest- 
ing walks  may  also  be  taken  with  the  aid  of  the  plan ;  some  of  the  out 
of  the  way  quarters  of  the  town  are  better  avoided  by  ladies  unless  ac- 
companied by  a  gentleman.  Some  of  the  chief  routes,  e.  g.  from  the  Piazza 
of  St.  Mark  to  the  railway-station,  to  the  post  office,  and  to  the  steamer- 
stations  on  the  Grand  Canal,  and  from  the  Galleria  d'Arte  Moderna  to  the 
Museo  Civico,  are  indicated  by  notices  on  the  street- corners.  In  case  of 
doubt  a  boy  may  easily  be  found  to  show  the  way  (5-10  c).  —  Guides 
(comp.  p.  xvi)  are  in  most  cases  quite  needless,  and  few,  if  any,  can  be 
trusted  to  treat  their  clients  fairly  and  squarely. 

The  Carnival,  which  formerly  presented  a  gayer  and  lighter  scene  at 
Venice  than  in  any  other  city  of  Italy,  has  of  late  entirely  lost  its  signi- 
ficance. —  The  city  authorities  sometimes  give  Serenades,  i.e.  concerts  with 
illuminations  on  the  Canal  Grande.  —  The  Regattas  held  periodically  on 
the  Grand  Canal  are  characteristic  and  interesting.  The  course  is  from 
the  Public  Gardens  to  the  Railway  Station  and  back  to  the  Pal.  Foscari. 
—  The  testa  del  Redentore  (second  Sun.  in  July)  is  also  interesting. 


History.  For  the  early  history  of  Venice,  see  p.  242.  The  foundation 
of  the  Eastern  supremacy  of  Venice  was  laid  by  Doge  Enrico  Dandolo 
(1192-1205),  who  conquered  Constantinople  in  1204.  In  consequence  of  this 
Venice  gained  possession  of  numerous  places  on  the  coasts  of  the  Adriatic 
and  the  Levant,  from  Durazzo  to  Trebisond,  and  of  most  of  the  Greek 
islands,  including  Candia,  which  was  administered  on  the  model  of  the 
mother-city.  During  the  conquest  and  administration  of  these  new  terri- 
tories there  arose  a  class  of  nobles,  who  declared  themselves  hereditary 
in  1297  and  excluded  the  rest  of  the  people  from  all  share  in  the  govern- 
ment. The  supreme  authority  lay  with  the  Great  Council  (Maggior  Coa- 
siglio),  which  consisted  of  all  members  of  the  Nobili  above  twenty.  The 
executive  was  vestad  in  a  Doge ,  or  Duke ,  and  six  counsellors ,  with 
whom  was  associated  the  Council  of  the  Pregadi.  The  Pregadi  were  after- 
wards united  with  the  higher  officials  to  form  the  Senate.  The  duty  of 
the  Avvogadori  di  Comune  was  to  see  that  the  public  officials  governed 
constitutionally.  After  the  conspiracy  of  Baiamonte  Tiepolo  (1310)  the 
chief  power  was  vested  in  the  Council  of  Ten  (Consiglio  dei  Died),  elected 
yearly  by  the  Maggior  Consiglio;  and  this  tribunal,  from  which  the  State 
Inquisition  was  developed  in  the  16th  cent.,  controlled,  in  conjunction 
with  the  doge  and  his  councillors,  every  department  of  government. 


HistGry.  VENICE.  47.  Route.   289 

With  her  rival  Genoa  the  Rcptiblic  came  repeatedly  into  violent 
conflict,  losing  many  of  her  conquests  in  the  East;  but  the  Genoese  were 
at  length  totally  defeated  by  Doge  Andrea  Dandolo  in  1352.  His  successor 
Marino  Falieri  plotted  for  the  overthrow  of  the  aristocracy,  but  his  scheme 
was  discovered,  and  he  was  beheaded  on  17th  April,  1355.  During  the 
regime  oi  Andrea  Contarini  (1367-82)  Padua,  Verona,  Genoa,  Hungary,  and 
Naples  formed  an  alliance  against  Venice.  In  1379  the  Genoese  captured 
Chioggia,  but  they  were  surrounded  in  the  Lagune  and  compelled  to  sur- 
render, 24th  June,  1380.  Peace  was  concluded  in  1381.  In  1386  Antonio  Venier 
(1382-1400)  occupied  the  island  of  Corfu,  and  afterwards  Durazzo,  Argos, 
etc.  Under  Michele  SUno  (1400-1414)  the  Venetian  general  Malatesia  con- 
quered Vicenza,  Belluno,  Feltre,  Rovigo,  Verona,  and  Padua  (1405);  in 
1408  the  Republic  gained  possession  of  Lepanto  and  Patras,  and  in  1409  of 
Giiastalla  and  Casahuaggiore.  In  1421  Tominaso  Mocenigo  waged  war  suc- 
cessfully against  Hungary.  In  1416  the  Venetian  fleet  under  Loredan  defeated 
the  Turkish  at  Gallipoli,  and  in  1421  it  subdued  all  the  towns  of  the  Dal- 
matian coast ,  so  that  Venice  now  held  the  entire  coast  from  the  estuary 
of  the  Po  to  the  island  of  Corfu.  Mocenigo's  successor  was  Francesco  Fos- 
eari  (1423-57).  In  1426  Brescia  fell  into  the  hands  of  the  Venetian  general 
Carmagnola  (p.  50).  In  1449  the  Venetians  took  Crema,  but  were  unable 
to  prevent  the  elevation  of  Sforza  to  the  dukedom  of  Milan  (1450).  A  sad 
ending  awaited  the  long  and  glorious  career  of  Foscari.  Suspected  by  the 
Council  of  Ten,  and  weakened  by  contentions  with  the  Loredani  and  other 
private  feuds,  he  was  deposed  in  1457  and  died  a  few  days  afterwards.  — 
Under  Cristo/oro  Moro  (1462-71)  the  Turks  conquered  the  Morea,  where  a 
few  fortresses  only  were  retained  by  Venice.  In  1483  the  Republic  acquired 
Zante,  and  in  1489  Cyprus  also,  which  was  ceded  by  Catharine  Cornaro, 
a  Venetian  lady,  widow  of  King  James  of  Cyprus. 

The  15th  cent,  v/itnessed  the  zenith  of  the  glory  of  Venice.  It  rivalled 
Bruges  as  the  focus  of  the  commerce  of  Europe,  numbered  200,000  inhab., 
and  was  universally  respected  and  admired.  The  events  of  1492  made  many 
Jews  from  Granada  and  other  Moorish  towns  seek  refuge  in  Venice.  Its 
annual  exports  were  valued  at  10  million  ducats,  4  millions  being  clear 
profit.  It  possessed  300  sea-going  vessels  with  SCKX)  sailors,  3000  smaller 
craft  with  17,000  men,  and  a  tleet  of  45  galleys  carrying  11,000  men,  who 
maintained  the  naval  supremacy  of  the  Republic.  But  in  the  middle  of 
the  !5tb  cent,  an  evil  omen  occurred:  Constantinople  was  captured  by  the 
Turks  in  1453,  and  the  supremacy  of  Venice  in  the  East  was  thus  under- 
mined. The  crowning  blow,  however,  was  the  discovery  of  the  new  sea- 
route  to  India  at  the  close  of  the  century,  by  which  its  commerce  was 
diverted  to  the  Portuguese.  Yet  'the  arts,  which  had  meanwhile  been 
silently  developing,  shed  a  glorious  sunset  over  the  waning  glory  of  the 
mighty  Republic". 

The  opening  of  the  16th  cent,  brought  new  losses.  In  1503  Venice 
signed  a  humiliating  peace  with  Bajazet  II.,  to  whom  she  ceded  the  whole 
of  the  Morea.  The  League  of  Cambrai,  formed  by  the  Pope,  the  Emperor, 
and  the  Kings  of  France  and  Aragon  against  Venice  in  1508,  and  the  victory 
of  the  French  at  Agnadello  in  1509  occasioned  serious  losses  to  the  Republic. 
The  wars  between  Emp.  Charles  V.  and  Francis  I.  of  France  (1521-30)  were 
also  prejudicial  to  Venice,  but  her  power  was  most  seriou.^ly  impaired  by 
her  continuous  struggle  against  the  Turks.  In  1540  she  lo.st  Nauplia,  the 
islands  of  Chios,  Paros,  and  others,  and  in  1571  Cyprus  also,  notwith- 
standing its  brave  defence  by  Bragadino.  In  the  naval  battle  of  Lepanto 
(Ist  Oct.,  1571)  the  Venetian  fleet  distinguished  itself  greatly.  In  1669  the 
island  of  Candia  was  conquered  by  the  Turks.  The  Venetians,  however, 
under  Francesco  Horosiiti  C Feloponnesiacus^ )  and  Kbnigsmarck,  were  victor- 
ious in  the  Morea  in  1684,  and  conquered  Coron,  Patras,  Corinth,  and 
Athens;  in  1696  and  1698  they  again  defeated  the  Turkish  fleets  and  by 
the  Peace  of  Carlowitz  in  1709  they  regained  the  Morea ;  but  the  Turks 
reconquered  the  peninsula  in  1715,  and  in  1718  were  confirmed  in  their 
possession  by  the  Peace  of  Passarowitz. 

From  this  period  Venice  ceases  to  occupy  a  prominent  position  in 
history.    She  retained  her  N.  Italian  possessions  only ,   remained   neutraJ 

Baedekes.  Italy  I.    13th  Edit.  19 


290   Routed?.  VENICE.  History  of  Art. 

in  every  war,  and  continued  to  decline  in  power.  On  the  outbreak  of  the 
French  Revolution  Venice  at  first  stoutly  opposed  the  new  principles;  on 
the  victorious  advance  of  the  French  she  endeavoured  to  preserve  her 
neutrality ,  and  repeatedly  rejected  Bonaparte's  proposals  of  alliance. 
Irritated  by  this  opposition,  he  broke  oil'  his  negotiations  and  took  possession 
of  the  city  on  16th  May,  1797,  and  the  last  doge,  Lodovieo  Mariiii  (1788-97), 
abdicated.  By  the  Peace  of  Campo  Formio  (1797)  Venetia  was  assigned  to 
Austria,  by  that  of  Pressburg  (1805)  to  the  kingdom  of  Italy,  and  in  1814 
to  Austria.'  At  length  in  1848  Venice  declared  herself  a  Republic  under  the 
presidency  of  Daniele  Manin;  but  after  a  siege  of  15  months  she  was  taken 
by  Radelzky  in  Aug.,  1849.  Lastly,  the  war  of  1866  led  to  the  union  of 
Venetia  with  the  kingdom  of  Italy.  See  H.  F.  Brown's  'History  of  Venice', 
mentioned  at  p.  292. 

In  the  History  of  Art  Venice  has  shown  herself  as  independent  of 
the  mainland  as  in  situation  and  political  history.  The  surprise  of  the 
traveller  who  beholds  Venice  for  the  first  time ,  even  after  having  seen 
the  rest  of  Italy,  will  also  be  felt  by  those  who  study  her  art.  The  earliest 
monuments  of  Venice  at  once  betray  the  fact  that  her  greatness  was 
founded  on  her  Oriental  commerce.  The  church  of  St.  Mark  is  in  the 
Btzantinb  style ,  the  oldest  mosaics  bear  a  Byzantine  impress  ,  and  the 
same  type  is  observable  in  other  branches  of  art.  The  Palazzi  Farsetti, 
Loredan,  and  Dona,  and  the  Fondaco  dei  Turchi  are  Romanesque.  Even 
during  the  period  of  Gothic  Art  the  Venetians  differed  in  their  style  from 
the  rest  of  Italy.  In  ecclesiastical  architecture  these  differences  were  com- 
paratively slight,  but  the  Venetian  palaces,  which,  as  generally  in  Upper 
Italy,  are  the  chief  Gothic  buildings,  possess  a  more  marked  individuality, 
and  foremost  among  them  is  that  of  the  Doges.  They  possess  a  large 
entrance-colonnade;  a  loggia  (portego)  on  the  upper  floor,  with  windows 
close  together  in  the  middle;  wings,  treated  chiefly  as  surfaces  for  painting; 
and  everywhere  a  wealth  of  decoration  and  colour.  Such  are  the  Cd  Doro, 
the  Palazzo  Foscavi,  and  many  others  on  the  Canal  Grande.  Still  more 
zealously  did  the  Venetians  "cultivate  the  Renaissanoe  Akchitectcre, 
naturalised  at  the  end  of  the  15th  cent.,  much  later  than  in  the  rest  of 
Italy.  In  point  of  size  the  early-Renaissance  buildings  in  Venice  cannot 
compare  with  those  of  Tuscany,  but  they  are  more  richly  decorated,  and 
retain  the  articulation  peculiar  to  the  earnest  period.  At  a  later  period 
Venetian  architecture  may  justly  boast  of  holding  out  against  the  rococo 
style  longer  than  Central  Italy.  Chief  among  Venetian  architects  were 
sevei'al  of  the  Lombardi  family  (immigrants  from  Carona,  on  the  Lago  di 
Lugano),  Moro  Coducci  (d.  1604),  Jacopo  Saiisovino  of  Florence  (1486-1570; 
see  below),  Giovanni  da  Ponte  (1512-97),  and  lastly  Andrea  Palladia  o£  Vicenza 
(1518-80;  p.  265),  who  inaugurated  a  new  era,  especially  in  church-archi- 
tecture, by  limiting  the  facade  to  a  single  range  of  massive  columns. 
Palladio's  chief  successors  were  Vincenzo  Scamozzi  (1552-1616)  and  Baldassare 
Longhena  (1604-75). 

In  the  province  of  Sculpture  the  city  possessed  at  the  end  of  the  14th 
cent,  two  important  masters  in  the  brothers  Giacomello  and  Pierpaolo  delle 
Massegne  (flor.  ca.  1388-1417),  who  had  probably  studied  in  the  school  of 
Andriolo  de  Sanclis  (d.  137T).  In  the  15th  cent,  the  growing  taste  for 
monumental  tombs  gave  abundant  employment  to  the  sculptors,  and  led  to 
the  execution  of  those  magnificent  monuments  which  still  till  the  churches' 
of  Venice.  The  names  of  the  Buon.  of  Antonio  Rizzo  of  Verona  (c.  1430- 
ca.  1498),  of  the  Lombardi  (see  above),  and  of  Alessandro  Leopardi  (d.  1522) 
who  had  formed  himself  by  the  study  of  Greek  sculptures,  are  the  most 
important.  After  1527  Jacopo  Sansovino,  sculptor  and  architect,  was  the 
leading  master.  His  works,  though  often  designed  for  pictorial  effect,  are 
more  pleasing  than  those  of  Michael  Angelo's  school.  His  pupils  were 
Oirolamo  Campagna  (ca.  1550-1623)  and  Alessandro  Vitloria  1525-1608). 

Venetian  Painting  did  not  begin  to  attract  universal  attention  till 
the  beginning  of  the  15th  cent.  (comp.  p.  Ix).  In  the  14th  cent,  it  wag  far 
inferior  to  that  of  other  Italian  schools,  and  though  Giotto  (p.  470)  was  en- 
gaged in  the  neighbouring  town  of  Padua,  it  remained  unaflected  by  his 


Ilhlory  of  Art.  VENICE.  47.  Route.    291 

inllufince.  In  1365  Gnarienio  of  Padua,  and  in  1419  the  Umbrian  Gentile  da 
FaOriaiio  and  Vittore  Pisano  of  Veroaa,  were  invited  to  Venice  to  decorate 
the  doges'  palace.  The  native  Venetian  masters  did  not  become  prominent 
till  a  later  date.  Among  these  the  most  noted  masters  were  Giovanni  (also 
named  Aleinannus),  Antonio,  Bartolomeo,  and  Alvise  (Luigi)  Vivarini  (d.  be- 
fore 1502),  known  as  the  Muranefi,  Jacopo  Bellini  (ca.  1400-71),  father-in-law 
of  Mantegna,  who  influenced  the  Paduan  school  (p.  271),  and  Carlo  Cinvelli 
(dor.  ca.  1468-93).  Antonello  da  Mussina  (ca.  1441-93)  introduced  painting 
in  oils  into  Venice  about  1473,  and  the  new  method  contributed  power- 
fully to  the  development  of  the  first  purely  Venetian  artists  in  Gentile 
(ca.  1429-1507)  and  Giovanni  Bellini  (ca.  1430-1516),  the  sons  of  Jacopo. 
Giovanni  Bellini,  who  had  many  pupils,  is  with  Mantegna  the  most  im- 
portant master  of  the  early  Renaissance  in  K.  Italy.  Alike  in  composition 
(as  in  the  'santa  conversazione',  a  peaceful,  yet  expressive  group  of  saints 
with  the  Madonnal,  in  his  love  of  colour  and  appreciation  of  landscape, 
and  in  his  conception  of  female  figures,  he  may  be  regarded  as  the  pre- 
cursor of  the  glorious  prime  of  Venetian  painting.  Among  his  contemp- 
oraries were  ViHore  Carpaccio  (d.  1520),  a  lively  pictorial  narrator,  and 
Marco  Basaiti  (ca.  1470  ca.  1530),  while  to  his  school  belonged  Cima  da  Coneg- 
liano  (1459-1517),  Tincenzo  Catena,  Andrea  Previtali,  Niccolb  RondineUi,  and 
others. 

The  first  of  the  great  masters  of  the  late  Renaissance  was  Qiorgione 
(BarbarelH,  1477? -1510),  but  unfortunately  only  the  altar-piece  at  Castel- 
franco  (p.  279)  is  thoroughly  authenticated  as  his  work;  though  at  Venice 
the  'Famiglia  di  Giorgioiic'  in  the  Pal.  Giovanelli  (p.  323)  and  an  Apollo 
and  Daphne  in  the  Scminario  Patriarcale  (p.  340)  are  ascribed  to  him. 
The  peculiar  glow  of  his  colouring,  an  attribute  which  seems  natural 
rather  than  acquired,  imparts  even  to  his  isolated  half-figures  unwonted 
life  and  poetical  charm.  The  first  artist  who  fully  developed  that  type  of 
female  beauty  in  which  simple  enjoyment  of  life  is  so  admirably  ex- 
pressed was  Jacopo  Palma  (  Vecchio  ,  1480  •  1528)  of  Bergamo.  The  golden 
hair  of  his  sitters  recalls  the  fashionable  practice  of  the  period  of  dyeing 
the  hair  a  light  colour.  Surpassing  all  his  fellows  in  celebrity,  in  fertility, 
and  in  the  length  of  his  career,  next  comes  the  great  Tiziano  Vecelli 
(1477-1576).  Frescoes  by  him  may  be  seen  in  the  Scuola  del  Santo  and 
Scuola  del  Carmine  at  Padua  and  in  the  Doges'  Palace  at  Venice ;  and 
though  his  oil-paintings  are  distributed  throvighout  the  galleries  of  Europe, 
several  of  his  most  striking  works,  chiefly  religious  compositions,  are 
still  preserved  at  Venice. 

Such  were  the  vitality  and  vigour  and  so  great  were  the  resources  of 
the  Venetian  School,  that  even  masters  of  secondary  rank  frequently  pro- 
duced works  of  the  highest  excellence.  There  is  frequently  but  little  to 
choose  between  them  in  their  skill  in  using  colour.  Foremost  among 
them  are  Sehastiano  del  Piombo  (1485-1547),  who  afterwards  yielded  to  the 
fascinating  influence  of  Michael  Angelo,  Kocco  Marconi  (d.  1529),  the  dreamy 
Lorenzo  Lotto  (1480-1556),  Bonifazio  dei  Pitati  (1487-1553;  comp.  p.  245), 
of  whose  life  little  is  yet  known,  Giovanni  Antonio  (da)  Pordenone  (1483- 
1539),  whose  flesh -tints  are  unsurpassed,  and  Paris  Bordone  (1500-71), 
whose  portraits  rival  those  of  Titian.  To  a  younger  generation  belongs 
Jacopo  Tintoretto  {Robnsli,  1518-94),  who  squandered  e.xccllent  abilities  on 
superficial  works  (Vasari  calls  him  41  piu  terribile  cervello,  che  abbia 
avuto  mai  la  pittura'),  and  in  his  eagerness  for  efl'ect  lost  the  golden  tints 
of  his  school.  Paolo  Caliari,  surnamed  Veronese  (1528-88),  on  the  other 
hand,  though  more  realistic,  maintains  the  best  traditions  of  his  school.  Last 
among  the  masters  of  note  were  the  Bassanos  (p.  28U),  Palma  Giovane,  and 
Padovanino.  To  the  18th  cent,  belong  Giov.  Bali.  Tiejiolo  (ca.  1693-1770), 
a  spirited  decorative  artist,  Antonio  Canale  (1097-1768),  an  architectural 
painter,  his  pupil  Bern.  Belotlo  (1724-80'),  both  surnamed  Canatetto,  and 
Francesco  Ouardi  (1712-93),  all  much  admired  by  their  contemporaries. 

Visitors  to  Venice  should  be  provided  with  'Life  on  the  Lagoons, 
(2nd  edit.,  Londcm,  1894),  by  Horatio  F.  Brown,  an  excellent  little  book, 
which  furuishcB  answers  to  most  of  the  questions  about  Venice  that  sug- 

19* 


292   Route  47.  VENICE.  Situation. 

gest  themselves  to  the  intelligent  visitor.  The  same  author's  'Venice:  an 
Historical  Sketch  of  the  Republic''  (1893)  and  'Venetian  Studies'  (1887)  are 
also  recommended.  It  is,  of  course,  well  to  be  familiar  with  Muskin'^s'' Stones 
of  Venice',  or  at  least  with  the  'Introductory  Chapters  and  Local  Indices, 
printed  separately  for  the  use  of  travellers'  (in  2  octavo  vols. ;  1881).  His 
'St.  Mark's  Rest,  the  History  of  Venice  written  for  the  help  of  the  few 
travellers  who  still  care  for  her  Monuments'  is  issued  in  the  same  form 
as  the  better-known  'Mornings  in  Florence'.  The  'Venice'  of  Mr.  J,  C. 
Hare  is  an  interesting  and  convenient  manual ;  the  'Venetian  Life'  of 
Mr.  W.  D.  Howells  is  one  of  the  most  charming  books  of  its  kind.  Bern- 
hard  Beren^on's  'Venetian  Painters  of  the  Renaissance,  with  an  index  to 
their  works'  (1891),  will  be  found  useful  by  the  art-lover.  The  liev. 
Dr.  Alex.  Robertson's  'Fra  Paolo  Sarpi'  treats  a  critical  epoch  of  Venetian 
history  ;  his  'Bil)le  of  St.  Mark'  deals  exhaustively  with  the  history,  mo- 
saics, and  sculptures  of  St.  Mark's  Church  ;  and  his  'Venetian  Sermons'  is 
a  defence  of  the  old  republic.  See  also  the  'Renaissance  in  Italy',  by 
/.  A.  SymoncU;  'Venice',  by  the  Hon.  Aletlna  Wiel  ('Story  of  the  Nations 
Series';  18!l4);  'The  Makers  of  Venice'  by  Mrs.  Oliphant;  'Venice' by  Grant 
Allen  (Historical  Guides  .series);  O  PauWs  'Venice',  translated  bv  P.  0, 
Konody  (L'  niion.  1!  04);  and  'The  Story  of  Venice'  by  Thos.  Oakey  (Mediaeval 
Towns  series ;  1905).  —  Mr.  Ruskin  advises  the  traveller  who  is  lond  of 
paintings  to  devote  his  principal  attention  'to  the  works  of  Tintoret,  Paul 
Veronese,  and  John  Bellini;  not  of  course  neglecting  Titian,  yet  remem- 
bering that  Titian  can  be  well  and  thoroughly  studied  in  almost  any  great 
European  gallery,  while  Tintoret  and  Bellini  can  be  judged  of  only  in 
Venice,  and  Paul  Veronese  ....  is  not  to  be  fully  estimated  until  he 
is   seen  at  play  among  the  fantastic  chequers  of  the  Venetian  ceilings'. 


Venice^  Ital.  Venezia,  the  strongly  fortified  capital  of  the  province 
of  its  own  name,  a  commercial  and  naval  port,  and  the  seat  (since 
1451)  of  an  archbishop  with  the  title  of  Patriarch,  lies  in  dS^'iT'N. 
latitude,  2V2  M.  from  the  mainland,  in  the  Lagune,  a  shallow  hay  of 
the  Adriatic  about  25  M.  in  length  and  91/2  M.  in  width.  Its  15,000 
houses  and  palaces,  chiefly  built  on  piles  and  occupying  an  area 
about  6'/2  M.  in  circumference,  stand  on  117  small  islands,  formed 
by  more  than  150  canals,  and  connected  by  378  bridges,  most  of 
which  are  of  stone.  The  canals  (rii),  generally  passable  by  small  boats 
only,  sometimes  lap  the  very  walls  of  the  houses  and  are  sometimes 
separated  from  them  by  narrow  paths.  Among  these  houses  extends 
a  labyrinth  of  lanes,  paved  with  stone,  brick,  or  asphalt,  and  alive 
with  picturesque  and  busy  throngs.  The  population,  which  had 
dwindled  from  200,000  to  96,000  after  its  dissolution  as  an  in- 
dependent state  (1797^,  is  now  about  148,500.  The  industry  of 
Venice  is  practically  confined  to  ship-building,  the  making  of  cotton 
and  torppdoes,  and  the  flourishing  production  of  art-objects  (p.  286) 
for  its  enormous  annual  invasion  of  strangers.  Its  trade,  almost  en- 
tirely of  goods  in  transit,  has  somewhat  improved  within  the  last 
few  decades.  The  harbour  consists  of  the  Bacino  (or  Canale)  di  San 
Marco  (39  ft.  deep)  and  the  new  Bacino  della  Stazione  Maritlima, 
at  the  W.  end  of  the  Giudecca  Canal,  connected  by  rails  with  the 
railway-station. 

From  the  mouth  of  the  Piave  and  Cortellazzo  on  the  N.  to  Bron- 
dolo  on  the  S.  the  Lagoons  are  protected  from  the  open  sea  by  long 
sand-hills  (lidi),  strengthened  at  their  narrowest  parts  with  bulwarks 


a.  Pia%za  of  St.  Mark.         VENICE.  47.  Route.   293 

(murazzi)  of  masonry  (Istrian  marble),  30  ft.  in  height  and  40-50  ft. 
in  width.  On  the  side  next  the  Lagoons  the  Murazzi  are  perpen- 
dicular, while  towards  the  sea  they  descend  in  four  terraces,  of 
which  the  highest  is  broad  enough  to  permit  of  two  persons  walking 
abreast.  The  murazzi  on  the  lidi  of  Pellestrina  and  Sottomarina 
(p.  345)  date  from  the  last  period  of  the  Republic  (1774-81).  The 
Diga  of  Malamocco,  a  mole  11/4  M.  long,  extending  into  the  open 
sea,  was  constructed  by  the  Austrian  government,  after  1825,  to 
protect  Venice  from  the  encroachments  of  the  sea.  A  new  mole,  the 
Dlga  Nord  Est,  41/2  M.  long,  on  the  N.E.  side  of  the  Lido,  was  com- 
pleted in  1894.  The  Lagooiis  are  connected  with  the  open  sea  by 
four  entrances:  Porto  del  Tre  Porti,  Porto  di  Lido,  Porto  di  Mala- 
mocco,  Porto  di  Chioggia.  Of  these  the  second  and  third  are  alone 
available  for  large  vessels. 

The  Lagoons  consist  of  the  Haguna  viva',  and  the  'laguna  morta, 
which  are  of  about  equal  extent.  In  the  former  the  tide  rises  and 
falls  about  2^/2  ft- ;  the  latter,  near  the  coast  of  the  mainland,  is  a 
malarious  and  shallow  swamp,  now  unaffected  by  the  tide.  Venice 
is  situated  in  the  'laguna  viva',  here  about  5  M.  in  width.  At  high 
water  innumerable  stakes  ('pali'),  rising  from  the  water,  mark  the 
navigable  channels  which  surround  the  city,  forming  a  complicated 
network.  When  the  wind  blows  strongly,  the  surface  of  the  Lagoons 
is  often  agitated  enough  to  cause  sea-sickness.  In  winter  spring- 
tides faZiamareaj,  accompanied  by  a  continuous  east  wind,  sometimes 
raise  the  level  of  the  water  about  10  ft.,  so  that  even  the  Piazza  di 
San  Marco  is  flooded  and  may  be  traversed  by  gondola. 

a.  Piazza  of  St.  Mark  and  Environs.    Riva  degli  Schiavoui. 

The  **Piazza  of  St.  Mark  (PI.  G,  5),  usually  called  'La  Piazza, 
a  square  paved  with  trachyte  and  marble,  191  yds.  in  length,  on 
the  W.  side  61,  and  on  the  E.  90  yds.  in  breadth,  affords  the  most 
striking  evidence  of  the  ancient  glory  of  Venice.  On  three  sides  it 
is  enclosed  by  imposing  buildings ,  which  appear  to  form  one  vast 
marble  palace,  blackened  by  age  and  the  elements;  on  the  E.  it  is 
boun.ded  by  the  Church  of  St.  Mark  and  the  Piazzetta  (p.  297). 

The  two  three-storied  palaces  on  the  N.  and  S.  side  were  once 
the  residence  of  the  nine  'procurators',  the  highest  ofUcials  of  the 
Republic  after  the  Doge,  whence  their  name  Procuratie.  The  Pro- 
curatie  Vecchie,  or  N.  wing,  were  erected  in  1480-1517  by  Pielro 
Lombardo,  Bartolomeo  Buon  the  Younger,  and  Guylielmo  Bergarnasco. 
The  Procuratie  Ntiove,  or  S.  wing,  bi^gun  by  Scamozzi  in  1584,  to- 
gether with  the  adjoining  Old  Library  now  form  the  Palazzo  Reale 
(p.  298).  The  edifice  on  the  W.  side,  the  Atrio,  or  Nuova  Fahhrica, 
was  erected  iu  1810,  partly  on  the  site  of  the  church  of  San  Ge- 
miniano,  a  work  of  .Tac.  Sansovino.  The  groundfloors  of  these  struct- 
ures consist  of  arcades,  and  contain  the  cafe's  and  shops  mentioned 
at  pp.  283,  286. 


294:   Route  47.  VENICE.         a.  Piazza  of  St.  Mark  : 

'The  Place,  of  St.  Mark  is  tlie  heart  of  Venice,  and  from  this 
beats  new  life  in  every  direction,  through  an  intricate  system  of 
streets  and  canals,  that  bring  it  back  again  to  the  same  centre' 
(Howells).  On  summer-evenings  all  who  desire  to  enjoy  fresh  air 
congregate  here.  The  scene  is  liveliest  when  the  military  band  plays 
(Sun.,  Men.,  Wed.,  &  Frld.,  8.30-10.30),  and  possesses  a  charm  all 
its  own.  In  winter  the  band  plays  on  the  same  days,  2.30-4,30  p.m., 
and  the  Piazza  is  then  a  fashionable  promenade.  By  moonlight  the 
piazza  is  strikingly  impressive. 

A  large  flock  of  Pigeons  (Colombi)  enlivens  the  Piazza.  In  accordance 
with  an  old  custom  pigeons  were  sent  out  from  the  vestibule  of  San  Marco 
on  Palm  Sunday,  and  these  nested  in  the  nooks  and  crannies  of  the  sur- 
rounding buildings.  Down  to  the  close  of  the  Republic  they  were  fed  at 
the  public  expense,  but  they  are  now  dependent  upon  private  charity. 
Towards  evening  they  perch  in  great  numbers  under  the  arches  of  St. 
Mark's.  Grain  and  peas  may  be  bought  for  the  pigeons  from  various 
loungers  in  the  Piazza;  and  those  whose  ambition  leans  in  that  direction 
may  have  themselves  photographed  with  the  pigeons  clustering  round  them. 

The  three  richly  decorated  bronze  *Pedestals  of  the  flag-staffs  in 
front  of  the  church  were  executed  by  Aless.  Leopardi  in  1505.  The 
banners  of  the  Republic  which  once  waved  here  are  now  succeeded 
on  Sundays  and  holidays  by  those  of  the  Kingdom  of  Italy. 

The  nucleus  of  **San  Marco  (PI.  H,  5),  the  Church  of  St.  Mark, 
the  tutelary  saint  of  Venice,  whose  bones  are  said  to  have  been 
brought  by  Venetians  from  Alexandria  in  829 ,  is  a  Romanesque 
brick  basilica,  begun  in  830  and  rebuilt  after  a  fire  in  976.  In  the 
middle  of  the  llth  cent,  a  reconstruction  was  begun  in  a  Byzantine 
style  on  the  model  of  the  old  church  of  the  Apostles  at  Constan- 
tinople, and  decorated  with  that  lavish  and  almost  Oriental  magnifi- 
cence that  commands  our  admiration  to-day.  The  fanciful  effect  of 
the  facade  was  enhanced  by  the  Gothic  additions  it  received  in  the 
15th  century.  The  edifice  (250  ft.  long,  170  ft.  wide)  is  in  the  form 
of  a  Greek  cross  (with  equal  arms),  covered  with  Byzantine  domes 
in  the  centre  and  at  the  end  of  each  arm.  The  foremost  arm  Is 
completely  surrounded  by  a  vestibule  covered  with  a  series  of 
smaller  domes.  On  the  S.  side  this  contains  the  baptistery  and  the 
Cappella  Zeno;  and  on  the  W.  side  it  forms  the  facade.  Above  it  a 
gallery  runs  round  the  upper  part  of  the  church.  Externally  and 
internally  the  church  is  adorned  with  five  hundred  marble  columns 
(mostly  Oriental),  with  capitals  in  an  exuberant  variety  of  styles. 
The  mosaics  cover  an  area  of  45,790  sq.  ft.,  and  the  interior  is 
profusely  decorated  with  gilding,  bronze,  and  Oriental  marble.  The 
mosaics,  some  of  them  said  to  date  from  the  10th  cent.,  belong 
chiefly  to  the  period  between  the  12th  and  16th  cent.,  and  afford 
interesting  evidence  of  the  early  aptitude  of  the  Venetians  for  pic- 
torial composition.  —  Since  1807  St.  Mark's  has  been  the  cathedral, 
a  dignity  which  once  belonged  to  San  Pietro  di  Castello  (p.  330). 

Mr.  Ruskin,  in  (he  'Stones  of  Venice',  lays  great  stress  upon  the  colour- 
ing of  St.  Mark's,  reminding  the  reader  'that  the  school  of  incrusted  archi- 


San  Marco.  VENICE.  47.  Route.   295 

lecture  is  the  only  one  in  which  perfect  and  permanent  chromatic  decoration 
is  possible'.  And  again:  —  'the  effects  of  St.  Mark's  depend  not  only  upon 
the  most  delicate  sculpture  in  every  part  ,  but,  as  we  have  just  stated, 
eminently  ou  its  colour  also,  and  that  the  most  subtle,  variable,  inexpressible 
colour  in  the  world,  —  the  colour  of  glass,  of  transparent  alabaster,  of 
polished  marble,  and  lustrous  gold'. 

Over  the  principal  portal  are  -Four  Horses  in  gilded  bronze,  5  ft.  in 
height,  which  are  axaong  the  finest  of  ancient  bronzes,  and  the  sole  exist- 
ing specimen  of  an  ancient  quadriga.  They  probably  once  adorned  the 
triumphal  arch  of  Nero,  and  afterwards  that  of  Trajan.  Constantino  sent 
them  to  Constantinople,  whence  the  Doge  Dandolo  brought  them  to  Venice 
in  1204.  In  1797  they  were  carried  by  Napoleon  to  Paris,  where  they 
afterwards  graced  the  triumphal  arch  in  the  Place  du  Carrousel,  and  in 
1815  they  were  restored  to  their  former  position  by  Emp.  Francis. 

Facade.  Mosaics:  below,  over  the  principal  entrance,  the  Last  Judg- 
ment, executed  in  1836;  on  the  right,  Embarkation  of  the  body  of  St.  Mark 
at  Alexandria,  and  its  Arrival  at  Venice,  both  of  1660;  on  the  left,  the 
Veneration  of  the  saint,  of  1728,  and  Deposition  of  the  relics  of  the  saint 
in  the  Church  of  St.  Mark,  of  the  13tli  century.  —  Above,  on  the  left  and 
right,  are  four  mosaics  of  the  17th  cent..  Descent  from  the  Cross,  Christ  in 
Hades,  Resurrection,  Ascension.  —  The  quaint  Scdlpiures  ,  especially  at 
the  main  entrance  (allegorical  representation  of  the  months,  etc.),  and  the 
Byzantine  reliefs  in  the  walls  deserve  notice.  Above  are  statues  of  the 
Evangelists  under  canopies;  at  the  end,  the  Annunciation;  above  the 
large   central  arch,  a  statue  of  Christ. 

Vestibule  (Atrio).  The  Mosaics  in  the  vaulting ,  of  which  the  older 
are  in  the  Byzantine  style  of  the  13th  cent. ,  represent  Old  Testament 
subjects,  beginning  on  the  right:  1st  Dome,  Creation  of  the  World,  and  Fall 
of  Man;  in  the  following  arch,  the  Deluge;  2nd  Dome,  over  the  principal 
entrance  to  the  church,  St.  Mark,  executed  in  1545  by  the  brothers  Zuccalo. 
—  The  three  red  slabs  in  the  pavement  commemorate  the  reconciliation 
between  Emp.  Fred.  Barbarossa  and  Pope  Alexander  III.  (p.  302),  eflected 
here  on  23rd  July,  1177,  through  the  mediation  of  the  Doge  Seb.  Ziani. 
According  to  an  old  tradition  the  emperor  kneeling  before  the  pope  said, 
'■non  libi  sed  Peiro',  to  which  the  pope  replied,  'ei  7>iihi  el  Petro\  —  In  the 
next  arch,  Noah,  and  the  Tower  of  Babel;  3rd  Dome,  History  of  Abraham; 
4th  (corner)  Dome.  Joseph's  dream,  Joseph  sold  by  his  brethren,  and  Jacob's 
lament;  5th  and  6th  Domes,  Joseph  in  Egypt;  7th  Dome,  History  of  Moses. 

The  middle  and  right  Bronze  Doors  are  adorned  with  figures  of 
saints  in  enamel  (niello)  work,  and  are  of  Byzantine  origin. 

The  '-"Interior  consists  of  nave  and  aisles,  crossed  by  a  transept  with 
aisles,  with  five  domes  and  an  apse.  Its  charm  consists  in  the  beauty  of 
the  main  lines,  the  noble  perspectives,  and  the  magniliceni  decoration. 
The  Pavement  of  marble  mosaic  dates  from  the  12th  century.  The  Mosaics 
represent,  above  the  door,  Christ,  the  Virgin,  and  St.  Mark  (the  most  ancient 
mosaic;  lOth  cent.);  in  the  arch  above,  the  Apocalypse  by  Zuccato  (1579). 

Nave.  The  foot  of  the  Binitier  on  the  right  is  enriched  with  fine 
antique  reliefs.  The  Mosaics  in  the  right  aisle  represent  Christ  in  Geth- 
semane,  with  legends  of  the  Apo.'jtles  above  (12th  cent.);  1st  Dome,  De- 
scent of  the  Holy  Ghost;  in  the  left  aisle.  Paradise,  and  Martyrdom  of  the 
Apostles  (16th  cent.).  At  the  beginning  of  the  left  aisle  is  a  gilded  By- 
zantine relief  of  the  Madonna  (lOth  cent.),  and  the  AUar  by  the  central 
pillar  on  the  left  has  an  elegant  Byzantine  canopy.  —  The  Mosaics  in  the 
central  dome  of  the  nave  represent  the  Ascension,  and  those  on  the  S. 
and  W.  ribs,  scenes  from  the  Passion  (12th  cent.).  The  other  mosaics  are 
chiefly  of  the  16th  and  17th  centuries.  By  the  screen,  right  and  left  of  the 
approach  to  the  high-altar,  are  two  Pulpits  (ambones)  in  coloured  marble, 
supported  on  columns.  On  the  Screen  are  fourteen  statues  in  marble  by 
the  brothers  Massegne  (1394) :  St.  Mark,  the  Virgin,  and  the  Apostles,  with 
a  gilded  Crucifix.  On  the  Rood  Arch  above,  fine  mosaics  from  designs  by 
Tintoretto.  —  Left  Transept:  above,  on  the  left,  a  Mosaic  of  1542,  re- 
presenting the  genealogy  of  Marv;  fine  Renaissance  AUar.  and  two  bronze 
Candelabra,  dating  frum  1520.     To  the  left  is  the  Cappella  dei  Mascoli  (1430), 


296   Routed?.  VENICE.        a.  Piazza  of  St.  Mark : 

with  mosaics  by  Michiel  Giambono  and  an  unknown  Paduan  Master.  Adjoin- 
ing is  tlie   Cappella  dt   HanC  Isidoro,  witb  the  tomb  of  the  saint. 

To  the  right  and  left  of  the  Choir  is  tasteful  Renaissance  panelling, 
by  Fra  Seb.  Schiavone,  above  which  are  six  reliefs  in  bronze  (ihree  on  each 
side),  by  Jac.  Sa7i.-<ooino,  from  the  life  of  St.  Mark.  To  the  left  is  the 
throne  (Sedia  Patriarcale)  of  the  archbishop,  by  Saccardo  (1895).  —  On  the 
balustrade  of  the  Stalls  are  (centre)  the  four  Evangelists  in  bronze,  by 
Sansovino,  and  (aides)  four  Fathers  of  the  church,  by  Oirolamo  Caliari  (1614). 

The  High  Altar  (Altar  Maggiore)  stands  beneath  a  canopy  of  verde 
antico,  borne  by  four  columns  of  marble  with  reliefs  of  the  11th  century. 
The  ''Pala  d^Oro^  eaamelled  work  with  jewels,  on  plates  of  gold  and  silver, 
executed  at  Constantinople  in  11U5  for  the  frojit  of  an  altar,  forms  the 
altar-piece;  it  was  re -arranged  in  the  13th  and  14th  cent,  and  furnished 
with  Gothic  additions.  It  is  uncovered  at  Easter  only,  but  is  shown  daily 
except  on  festivals,  11-2,  by  tickets  (50  c.)  which  admit  to  the  treasury  also. 
Under  the  higb-altar  repose  the  relics  of  St.  Mark,  as  the  marble  slab  at 
the  back  records.  —  Behind  the  high -altar  is  a  second  Altar  with  four 
spiral  columns  of  alabaster,  said  to  have  belonged  to  the  Temple  of  Solomon, 
of  which  the  two  white  ones  in  the  middle  are  translucent.  The  Mosaics 
in  the  Dome  represent  Christ  surrounded  by  Old  Testament  saints;  those 
of  the  apse,  Christ  enthroned  (1500).  The  door  leading  to  the  sacristy,  to 
the  left,  behind  the  high-altar,  bears  reliefs  of  the  Entombment  and  Re- 
surrection of  Christ,  and  admirable  heads  of  Evangelists  and  Prophet  (said 
to  be  portraits  of  the  leading  Venetian  artists  of  the  time)  executed  in 
bronze  by  Sansovino  (155G). 

The  Sacristi  (Sagrestia),  to  the  left,  contains  some  fine  mosaics  on  the 
vaulting  (1524).  Cabinets  with  intarsia  work  by  Fra  Seb.  Schiavone^  Ant. 
and  Paolo  da  Mantova,  etc.  (1450-1520). 

The  Cktpt,  restored  in  1901,  is  one  of  the  oldest  parts  of  the  edifice 
(entr.  from  the  Sacristy;  adm.  f30  c,  from  Nov.  to  May;  closed  12-2).  It  con- 
tains a  multitude  of  short  columns  of  Greek  marble,  and  in  the  middle 
is  an  enclosure  with  marble  railings  of  the  early-Christian  period. 

The  Right  Tkansept  contains  two  bronze  Candelabra,  of  the  end  of  the 
16th  century.  —  In  the  corner  is  the  entrance  to  the  Teeasdry  ( Tesoro  di 
San  Marco;  open  daily,  except  festivals,  li-2;  50  c.):  in  front,  an  episcopal 
throne  of  the  7th  cent.,  with  symbolical  reliefs,  said  to  be  from  Grado 
(p.  353);  in  a  glass-case  to  the  left,  valuable  Byzantine  book-covers.  On 
the  table  to  the  left,  two  Gothic  candelabra  (15th  cent.);  adjacent,  to  the 
right,  bust  of  John  the  Baptist,  perhaps  of  the  11th  cent.  (V).  By  the  rear- 
wall  is  an  antependium  in  beaten  silver  (14th  cent.).  In  the  cabinets  are 
the  sword  of  the  Doge  Morosini  (p.  289),  sumptuous  'Church -furniture 
works  in  rock-crystal,  agate,  and  turquoise. 

In  the  right  aisle,  close  to  the  principal  entrance,  is  the  Battisteeo 
(closed,  1/2  fr.),  in  the  centre  of  which  is  a  large  font  of  1546.  The  bronze 
lid,  adorned  with  fine  reliefs  by  Tiziano  Minio  of  Padua  and  Detiderio  of 
Florence,  bears  a  bronze  statue  of  John  the  Baptist,  by  Francesco  Segala 
(1565).  Opposite  the  door,  the  Gothic  monument  of  Doge  Andrea  Daudolo 
(d.  1354).  The  block  of  granite  on  the  altar  is  from  Mt.  Tabor.  The 
mosaics  in  the  Taulting  date  from  the  13th  and  14th  centuries.  In  the 
central  dome,  Christ  commanding  his  disciples  to  baptize  the  Gentiles  in 
his  name;  the  other  mosaics  are  chiefly  from  the  life  of  John  the  Baptist. 
—  From  the  Baptistery  we  enter  the  Cappella  Zeno,  which  is  visible 
through  the  railing  in  the  entrance-vestibule.  In  the  centre  rises  the 
handsome  "Monument  of  Cardinal  Giambattista  Zeno  (d.  1501),  entirely  in 
bronze,  designed  like  the  altar  by  Al.  Leopardi  and  Ant.  Lombardo  (1504-19); 
on  the  sarcophagus  is  the  figure  of  the  cardinal,  over  lifesize ;  below  are 
six  Virtues  by  Paolo  Savino.  The  handsome  altar  and  canopy  are  also 
cast  in  bronze,  with  the  exception  of  the  frieze  and  the  bases  of  the 
columns.  Over  the  altar  are  groups  in  bronze,  of  the  'Madonna  ('delta 
Scarpa"),  by  Ant.  Lombardo  (1515),  and  St.  Peter  and  John  the  Baptist,  by 
P.  Savino;  above,  a  relief  of  God  the  Father,  executed  by  Ant.  Lombardo ; 
on  the  altar  itself,  a  relief  of  the  Resurrection.  To  the  right  and  left, 
tv.'O  lions  in  coloured  marble. 


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Campanile.  VENICE.  47.  Route.   297 

The  visitor  is  strongly  recommended  to  walk  round  the  Gallery  in- 
side the  church  in  order  to  inspect  the  mosaics  more  closely.  Ascent 
from  the  principal  portal  (adm.  50  c.;  closed  12-2).  The  gallery  outside 
the  churcli  should  then  be  visited  for  the  purpose  of  examining  the  bronze 
horses  (p.  205). 

In  the  Fiazzetta  dei  Leoni,  on  the  N.  side  of  St.  Mark's,  under 
the  arch  of  the  transept,  is  the  marble  sarcophagus,  borne  by  lions, 
of  Daniele  Alanin  I}).  290;  d.  at  Paris,  1857).  —  Beyond  this  is  the 
Palazzo  Patriarcale,  occupied  by  the  Archbishop  since  1807  [comp. 
p.  294). 

On  the  S.  side  of  the  church  are  two  short  square  Pilasters, 
with  Greek  inscriptions,  brought  in  1256  from  the  church  of  St.  Saba 
at  PtoJemais  (joih  cent.),  which  was  destroyed  by  the  Venetians. 
From  the  Pietrn  delBando,  a  block  of  porphyry  at  the  S.W.  corner, 
the  decrees  of  the  Republic  were  promulgated.  Two  curious  Reliefs 
in  porphyry,  immured  by  the  entrance  to  the  Palace  of  the  Doges, 
represent  two  pairs  of  figures  with  sword  and  mantle  embracing 
each  other.  They  are  said  also  to  have  been  brought  from  Ptolemais 
and  are  the  subject  of  various  legends  (see  Harems  'Venice'). 

The  square  Campanile  (di  San  Marco),  322  ft.  in  height,  which 
rose  opposite  St.  Mark's,  to  the  S.W.,  collapsed  on  July  14th,  1902, 
crushing  the  Loggetta  at  its  foot.  It  was  begun  in  888,  rebuilt  in 
1148  and  1329,  and  provided  with  a  new  upper  story  by  Bart.  Buon 
the  Younger,  after  an  earthquake  in  1512.  The  foundations  have 
been  strengthened  and  the  rebuilding  of  the  tower  was  begun  in 
1905.  —  The  Loggetta,  or  vestibule,  on  the  E.  side  of  the  Cam- 
panile, erected  by  Sansovino  in  1540,  once  a  rendezvous  of  the 
Nobili  and  afterwards  a  waiting-room  for  the  guards  during  the 
sessions  of  the  great  Council,  is  to  be  rebuilt  also.  The  bronze  statues 
of  Peace,  Mercury,  Apollo,  and  Pallas,  by  Sansovino,  and  the  four 
reliefs  on  the  lower  part  of  the  walls,  by  G'irol.  da  Ferrara,  as  well 
as  the  Bronze  Gates  by  Ant.  Gai,  cast  in  1750,  have  escaped  with  little 
injury.  These,  with  Sansovino's  terracotta  group  of  the  Holy  Family, 
which  has  been  pieced  together  again,  will  be  replaced  in  the  new 
building. 

The  Clock  Tower  (Torre  delV  Orologio ;  Pi.  G,  H,  5),  on  the 
opposite  side,  at  the  E.  end  of  the  Old  Procuratie,  erected  in  1496-99 
perhaps  from  designs  byMoro  Coducci  (?),  rises  over  a  lofty  gateway, 
which  forms  the  entrance  to  the  Merceria  (p.  321).  The  gilded  figure 
of  the  Madonna  was  executed  in  the  studio  of  the  Lomhardi.  On 
the  platform  are  two  giants  in  bronze  {\>yAnt.  Rizzo?),  who  strike  the 
hours  on  a  bell.  The  custodian  of  the  clock  explains  the  mechanism 
(72  fr.);  entrance  under  the  archway  to  the  left,  indicated  by  a 
notice. 

From  the  S.E.  corner  of  the  Piazza  of  St.  Mark  to  the  Lagune 
extends  the  *Piazzetta  (PI.  H,  5,  6),  bounded  on  the  W.  by  the 
Library,  and  on  the  E.  by  the  Palace  of  the  Doges.  On  the  side 
next  the  Lagune  are  two  Granite  Columns,  from  Syria  or  Constan- 


29S   Routed?.  VENICE.  a.  Fiazza  cf  St.  Mark : 

tiiiople,  erected  here  in  1180;  one  of  them  bears  the  Winged  Lion 
of  St.  Mark  (shattered  at  Paris  in  1816,  but  put  together  again  in 
1893) ;  the  other,  St.  Theodore  on  a  crocodile,  patron  of  the  ancient 
republic,  placed  here  in  1329.  This  used  to  be  the  place  of  execu- 
tion; it  is  now  (at  the  Molo)  the  chief  stand  for  gondolas  (p.  283). 
The  Venetian  phrase  '/ra  Marco  e  Todaro'  corresponds  to  our  'be- 
tween hammer  and  anvil'. 

The  **01d  Library  (Libreria  Vecchia),  erected  by  Sansovino  in 
1536-53,  is  a  magnificent  building  of  the  16th  cent.,  and  one  of 
the  finest  secular  edifices  in  Italy.  The  N.E.  end  was  damaged  by 
the  fall  of  the  Campanile.  In  plan  it  consists  of  a  double  colonnade 
with  arches  and  embedded  columns.  In  the  upper  colonnade  the 
arches  rest  upon  a  separate  series  of  smaller  fluted  columns  of  the 
Ionic  order.  The  effect  is  so  fine  as  to  justify  certain  liberties 
Sansovino  has  taken ,  such  as  that  of  enlarging  the  metopes  at 
the  expense  of  the  triglyphs  and  architrave.  The  caryatides  at 
the  main  portal  are  by  Al.  Vittoria.  The  building  is  now  united  with 
the  Procuratie  Nuove  to  form  the  royal  palace  (p.  293). 

'The  Library  of  St.  Mark  remains  the  crowning  triumph  of  Venetian 
art.  It  is  impossible  to  contemplate  its  noble  double  row  of  open  arches 
without  echoing  the  judgment  of  Palladio,  that  nothing  more  sumptuous 
or  beautiful  had  been  invented  since  the  age  of  ancient  Rome'  (J.  A.  Symonds). 

Intekiok.  In  the  Antechamber  of  the  Library  is  a  ceiling- painting 
representing  Wisdom,  by  Titian  (a  late  work).  — •  The  Main  Saloon  is  em- 
belli8hed  with  portraits  of  twelve  philosophers  (incl.  Diogenes  and  Ar- 
chimedes by  Tintoretto)  and  ceiling-paintings  by  Paolo  Veronese  (Geometry, 
Aritlimetic,  and  Music;  1556)  and  others.  Two  large  frescoes  by  Tintoretto, 
formerly  in  the  Scuola  di  San  Marco,  represent  a  Miracle  of  St.  Mark 
(rescue  of  a  Saracen  during  a  storm)  and  the  -Transference  of  the  relics 
of  the  saint  from  Alexandria  (p.  294).  We  may  also  note:  Rocco  Marconi, 
The  woman  taken  in  adultery,  Bonifozic,  Madonna  with  SS.  Homobonus 
and  Barbara  (1530). 

On  the  Lagune,  between  the  Library  and  the  Royal  Garden,  is 
the  oldZecca(Pl.  H,  6;  hence  'zecchino'  or  'sequin')  or  Mint,  also 
built  by  Sansovino  in  1536.  Since  1905  it  has  accommodated  the 
celebrated  Library  of  St.  Mark  {Biblioteca  Marciana ;  adm.  see 
p.  288;  special  permission  necessary  for  the  MSS.  and  codices), 
founded  in  1468  by  Card.  Bessarione  and  transferred  at  Napoleon's 
command  from  the  Old  Library  to  the  Doges'  Palace  in  1812.  The 
library  contains  300,000  printed  volumes  and  about  11,000  MSS. 

Gkousd  Floor.  The  vestibule  is  adorned  with  two  Atlantes,  by  Oirol. 
Campagiia  and  Tiziano  Aspelti.  The  line  hall  is  used  as  a  reading-room. 
The  other  rooms  contain  the  modern  books. 

First  Flook.  From  the  loggia  we  enter  the  two  MSS.  rooms.  The 
show-cases  in  the  first  of  these  contain  some  splendid  Byzantine  book- 
covers  of  the  9-lith  cent.;  a  copy  of  l>ante  of  the  second  half  of  the  iith 
cent.,  with  numerous  miniatures,  and  the  * Breviario  Grimani,  a  famous 
early-Flemish  breviary  of  the  beginning  of  the  16th  cent.,  with  beautiful 
miniatures  in  the  style  ut  Mahuse  a.viA  Gerard  David;  other  valuable  MSS. ; 
and  books  printed  in  Venice. 

The  older  books,  inclnding  many  incunabula  and  valuable  Aldine 
editions,  are  preserved  on  the  second  and  third  floors. 


Pal.  of  the  Doges.  VENICE.  47.  Route.    299 

The  **Palace  of  the  Doges  (Palazzo  Ducale;  PI.  H,  5),  the  W. 

side  of  which  (82  yds.)  faces  the  Piazzetta,  and  the  S.  side  (78  yds.) 
the  Molo  and  the  Lagiiue,  is  said  to  have  been  founded  heside  the 
church  of  St.  Theodure  about  814  for  the  first  Doge  of  Venice.  It 
was  rebuilt  after  conflagrations  in  976  and  1105,  and  has  been 
repeatedly  altered  and  restored.  The  Gothic  exterior,  lined  with 
small  slabs  of  coloured  marble,  and  with  two  pointed  arcades  of  107 
columns  (36  below,  71  above),  one  above  the  other,  was  thoroughly 
restored  in  1873-89.  The  S.  part  dates  from  the  14th  cent.  (^1309 
et  seq. ;  large  window,  by  Pierpaolo  Massegne,  1404),  while  the  W. 
facade  is  said  to  have  been  built  in  1423-38  by  Giovanni  Buon  and 
his  sons  Pantaleone  and  Bartolomeo  Buon  the  Elder.  The  magnificent 
tracery  of  the  windows  in  the  upper  story  has  almost  entirely  disap- 
peared in  the  course  of  one  of  the  restorations. 

The  upper  arcade,  called  *^La  Loggia\  is  remarkably  rich.  From 
between  the  two  columns  of  red  marble  (^9th  and  10th  from  the 
principal  portal)  the  Kepublic  caused  its  sentences  of  death  to  be 
proclaimed.  The  capitals  of  the  short  columns  below  (which  have  no 
bases)  are  richly  decorated  with  foliage,  figures  of  men,  and  animals. 
On  the  corner-pillar  to  the  left  next  the  portal  are  interesting  figures 
of  Numa  Pompilius,  Scipio,  Emperor  Trajan  judging  the  cause  of 
a  widow,  Justice,  etc.,  all  with  inscriptions.  The  group  above  these 
is  the  *Judgment  of  Solomon  by  two  unknown  Florentines.  At  the 
corner  towards  the  Lagune,  Adam  and  Eve.  Mr.  Ruskin,  who  gives 
an  elaborate  description  of  these  sculptures  in  his  'Stones  of  Venice', 
affirms  that  the  capital  under  this  group,  'in  the  workmanship  and 
grouping  of  its  foliage',  is,  on  the  whole,  the  finest  he  knows  in 
Europe.  At  the  S.E.  angle,  the  sin  of  Noah.  All  these  are  Gothic. 
In  the  centre  of  the  Piazzetta  facade  is  an  alto-relief  of  the  Lion 
of  St.  Mark  with  a  kneeling  figure  of  Doge  Andrea  Gritti  (1523-38), 
which  was  destroyed  by  the  Radicals  in  1797  and  restored  by  Vrbano 
Bottasso  in  1897.    Adjacent  is  a  Venetia  enthroned  (15th  cent.). 

The  transition  from  late-Gothic  to  Renaissance  forms  is  illus- 
trated by  the  fine  portal  adjoining  St.  Mark's,  built  in  1438-43 
by  Giov.  and  Bart.  Buon  the  Elder.  It  is  called  *Porta  della  Carta 
from  the  placards  which  announced  the  decrees  of  the  Republic 
here.  The  figure  of  Temperance,  below  to  the  left,  the  charming 
Putti,  climbing  among  the  Gothic  foliage  of  the  tympanum,  and  the 
figure  of  Justice,  above,  are  especially  attractive.  The  relief  of  the 
Lion  of  St.  Mark  with  the  kneeling  figure  of  Doge  Franc.  Foscari, 
above  the  portal,  is  modern  (comp.  p.  303). 

The  magnifli'ent  *CouR'r  was  begun  about  1484  by  Ant.  Rizzo, 
continued  in  1499-1511  by  Pietro  Lombardo  and  in  1545-50  by  Ant. 
Searpagnino,  but  only  partly  completed.  The  florid  facade  on  the  E. 
side  is  probably  by  Rizzo.  The  little  fa(,'ade  adjoining  St.  Mark's 
at  the  N.E.  corner,  attributed  to  Ougl.  Btnjamasco  (1520),  is  less 
gorgeous,  but  more  happily  proportioned.  Within  one  of  the  highest 


300   Route  47.  VENICE.  a.  Piazza  of  St.  Mark: 

windows  to  the  left  of  the  main  facade  was  the  prison  of  the  poet 
Count  Silvio  Pellico  in  1822,  before  he  was  removed  to  the  Spiel- 
berg at  Briinn  (comp.  p.  45).  In  the  centre  of  the  court  are  two 
Well  Heads  in  bronze,  of  1556  and  1559.  On  the  facjade  .of  the 
Clock  Tower,  to  the  right,  is  a  statue  of  the  Venetian  general  Duke 
Francis  Maria  I.  of  Urbino  (d.  1538)  by  the  Florentine  sculptor 
G.  Bandini.  Most  of  the  other  statues  are  antique,  but  freely  restored. 

The  richly  ornamented  Scaia  dei  Gijranii,  the  flight  of  steps  leading 
to  the  palace,  derives  its  name  from  the  colossal  statues  of  Mars  and 
Neptune  at  the  top,  by /Sansovino  (1554).  On  the  highest  landing  of 
these  steps,  in  the  later  period  of  the  Republic,  the  doges  were 
crowned.  Opposite,  on  the  so-called  Arco  Foscari,  are  beautiful 
statues  of  *Adam  and  Eve,  by  Antonio  Rizzo  (1464). 

The  *Intbb,ioe  (admission,  see  p.  288 ;  office  on  the  first  floor, 
to  the  right)  is  another  prominent  specimen  of  Venetian  art, 
although  it  was  robbed  of  many  treasures  by  the  French  in  1797. 
While  the  earliest  native  painters  devoted  their  energies  to  the 
church  of  St.  Mark,  the  great  masters  of  the  15th  and  16th  cent, 
were  chiefly  engaged  in  the  Palace  of  the  Doges.  As,  however, 
their  works  were  destroyed  by  the  great  fire  of  1577,  the  palace 
now  forms  a  museum  of  later  masters  only,  such  as  2'intoretto, 
Paolo  Veronese,  and  Palma  Giovane,  but  it  still  presents  a  most 
brilliant  display  of  Venetian  painting,  so  far  as  executed  for  behoof 
of  the  state.  The  excellent  condition  of  the  paintings  is  note- 
worthy; the  gorgeous  colouring  of  P.  Veronese  is  nowhere  better 
illustrated.  Lists  of  the  pictures  are  placed  in  the  principal  rooms 
(except  on  Sun.  and  holidays;  printed  description  50  c). 

We  ascend  the  Scala  dei  Giganti.  Around  the  upper  colonnade 
are  modern  busts  of  Venetian  scholars,  artists,  and  doges,  and  a 
few  antiques  from  the  Archaeological  Museum  (p.  303;  Dionysus 
and  a  satyr,  Apollo  resting,  two  Muses).  Tickets  of  admission  are 
sold  opposite  the  staircase  (see  p.  288).  To  the  right  is  the  richly 
decorated  Scala  d'Oro  of  Sansovino ,  completed  in  1577,  once 
accessible  to  those  only  whose  names  were  entered  as  'Nobili'  in 
the  Golden  Book.  The  stucco-work  is  by  Al.  Vittoria,  the  paintings 
by  0.  B.  Franco.  By  this  staircase  we  ascend  on  week-days  direct 
to  the  upper  story.  —  The  next  staircase,  the  Scala  dei  Cenaori,  is 
the  entrance  on  Sundays  and  festivals  (p.  302). 

The  Uppbe  Floob,  contains  the  apartments  in  which  the  author- 
ities of  the  Republic  held  their  meetings,  and  which  retain  much 
of  their  ancient  splendour.  We  first  enter  a  small  anteroom,  the  — 

I.  Ateio  Quadrato,  with  ceiling-paintings  by  Tintoretto,  Doge 
Priuli  receiving  the  sword  of  justice.  On  the  walls,  portraits  of  pro- 
curators (p.  293),  also  by  Tintoretto.  —  To  the  right  is  the  — 

II.  Sala  dellb  Quatteg  Poete,  restored  in  1869  ;  architectonic 
decorations  hyPalladio,  1575.  Entrance-wall,  in  the  centre:  *Doge 
Ant.  Grimani  kneeling  before  Religion,  by  Titian  (a  late  work;  ca. 


Pal.  of  the  Doges.  VENICE.  47.  Route.    301 

1555);  the  figures  at  the  sides  are  by  Marco  Vecelli,  The  side 
pictures  are  by  Titian's  pupils :  left ,  Verona  conquered  by  the 
Venetians  in  1459,  by  Oiov.  Contarini.  Over  the  windows  in  the 
E.  wall :  Neptune  strewing  the  treasures  of  the  deep  at  the  feet  of 
Venetia,  by  Tiepolo,  Exit-wall :  Arrival  of  Henry  111.  of  France  at 
Venice  in  1574,  by  Andrea  Vicentino ;  Doge  Marino  Griruani  receiv- 
ing the  Persian  ambassadors  in  1603,  by  Oabriele  Caliari,  son  of 
P.  Veronese.  Magnificent  ceiling :  stucco-work  by  Sansovino,  paint- 
ing by  Jac.  Tintoretto.  —  Next  we  enter  the  — 

III.  Anticollbgio,  opposite  the  Atrio  Quadrate.  Architectonic 
decoration  and  fine  chimney-piece  designed  by  <Scamo2si.  Opposite 
the  windows ,  Jacob's  return  to  Canaan ,  by  Bassano ;  *Kape  of 
Europa,  by  P.  Veronese.  Also,  four  paintings  by  Tintoretto  :  Forge 
of  Vulcan,  Mercury  with  the  Graces,  Minerva  driving  back  Mars, 
and  Ariadne  and  Bacchus.  On  the  ceiling,  Venetia  enthroned  (in- 
jured), a  fresco  by  F.  Veronese. 

IV.  Sala  del  Collbgio.  On  the  left,  chimney-piece  with  sta- 
tues of  Hercules  and  Mercury,  by  Campagna.  Over  the  door  and 
on  the  exit-wall:  Doge  Andrea  Gritti  praying  to  the  Virgin,  Nup- 
tials of  St.  Catharine  (with  a  portrait  of  Doge  Franc.  Donate),  Virgin 
in  glory  (with  Doge  Niccolo  da  Ponte),  Adoration  of  the  Saviour 
(with  Doge  Alvise  Mocenigo) ,  all  by  Jac.  Tintoretto.  Over  the 
throne,  a  memorial  picture  of  the  Battle  of  Lepanto  (1571),  *Christ 
in  glory  I  below.  Doge  Venier,  Venetia,  Religion,  St.  Mark,  etc.), 
by  /'.  Veronese.  Ceiling- paintings  (considered  the  finest  in  the 
palace),  Neptune  and  Mars,  Faith,  *Venetia  on  the  globe  with 
Justice  and  Peace,  all  by  P.   Veronese. 

'The  roof  is  entirely  by  Paul  Veronese,  and  the  traveller  who  really 
loves  painting  ought  to  get  leave  to  come  lo  this  room  whenever  he  chooses 
and  should  pass  the  sunny  summer  mornings  there  again  and  again  .... 
He  will  no  otherwise  enter  so  deeply  into  the  heart  of  Venice'.  —  Rvs/cin. 

V.  Saia  del  Senato.  Over  the  throne.  Descent  from  the 
Cross  by  Jac.  Tintoretto.,  with  portraits  of  the  Doges  Pietro  Lando 
and  Marc  Antonio  Trevisano ;  on  the  wall,  to  the  left.  Doge  Seb. 
Venier  before  Venetia,  Doge  Pasquale  Cicogna  in  presence  of  the 
Saviour,  Venetia  with  the  Lion  against  Europa  on  the  Bull  (an 
allusion  to  the  League  of  Cambrai ,  see  p.  289) ,  all  by  Palma 
Giovane;  Doge  Pietro  Loredan  imploring  the  aid  of  the  Virgin,  by 
Jac.  Tintoretto.  Above  the  exit,  Christ  in  glory,  with  Doges 
Lorenzo  and  Girolamo  Priuli,  by  Palma  Giovrme.  Central  ceUing- 
painting:  Venice,  Queen  of  the  Sea,  bv  Jac.  Tintoretto. 

Beyond  this  room  (to  the  right  of  the  throne)  is  the  Anti- 
CHiESETTA,  or  vestibule  to  the  chapel  of  the  Doges,  containing  two 
pictures  by  J.  Tintoretto,  SS.  Jerome  and  Andrew,  and  SS.  Louis, 
Margaret,  and  George.  —  The  Chapel  ( Chiesetta)  itself  contains 
pictures  of  little  importance;  over  the  altar,  Statue  of  the  Madonna 
by  Tomm.  Lombardi  (1536).  — We  return  to  the  Sala  delle  Quattro 
Porte  and  thence  pass  through  an  anteroom  (left)  to  the  — 


302    Routed?.  VENICE.        a.  Piazza  of  St.  Mark: 

VI.  Sala  del  Consiglio  dei  Dibci  (coi)ip.  p.  289).  Entrance 
wall :  Pope  Alexander  III.  and  Doge  Seb.  Ziani  (p.  303),  the  con- 
queror of  Emp.  Fred.  Barbarossa,  by  Leandro  Bassano;  opposite, 
the  Peace  of  Bologna  between  Pope  Clement  VII.  and  Emp.  Char- 
les V.,  1529,  hy  Marco  Vecelli.  Back-wall:  Adoration  of  the  Magi, 
by  Aliense.  Ceiling-paintings,  partly  copies  of  Veronese  and  partly 
by  Batt.  Zelotti  and  others ;  the  *01d  Man  supporting  his  head  with 
his  hand  (at  the  back)  is  by  P.  Veronese  himself. 

VII.  SaladellaBussola,  ante-chamber  of  the  three  Inquisitors 
of  the  Republic.  On  the  entrance-wall  (the  present  egress)  is  an 
opening,  formerly  adorned  with  a  lion's  head  in  marble,  into  the 
mouth  of  which  (Bocca  di  Leone)  secret  notices  were  thrown.  This 
room  contains  two  pictures  by  Aliense:  on  the  entrance-wall,  Tak- 
ing of  Brescia,  142G,  opposite,  Taking  of  Bergamo,  1427;  chimney- 
piece  by  Sansovino ;  opposite,  Doge  Leon.  Donate  kneeling  before 
the  Madonna,  by  Marco  Vecelli.  On  the  ceiling,  St.  Mark  surround- 
ed by  angels,  by  Paolo  Veronese  (a  copy).  —  The  room  to  the  right 
is  the  — 

VIII.  Sala  dei  Capi  del  Consiglio  (the  three  heads  of  the 
Council  of  Ten).  Central  ceiling-painting,  an  angel  driving  away  the 
vices,  of  the  school  of  Paolo  Veronese;  chimney-piece  liy  Sansovino, 
with  caryatides  by  Pietro  da  Salb.  On  the  entrance-wall :  Madonna 
and  Child,  two  saints,  and  Doge  Leon.  Loredan,  by  Vine.  Catena. 
—  We  now  return  to  the  Sala  della  Bussola  and  descend  to  the  — 

Central  Floob,  to  which  the  Scala  dei  Censori  leads  direct  (on 
Sun.  and  holidays,  see  p.  300).  To  the  right  is  the  Archaeological 
Museum  (p.  303),  to  the  left  are  the  Sala  Bessarione  (p.  303)  and 
the  — 

Sala  del  Maggiok  Consiglio,  59  yds.  long,  27  yds.  broad, 
50  ft.  high,  which  was  the  assembly -hall  of  the  Oreat  Council 
(p.  290).  The  balcony  affords  a  *View  of  the  lagoons,  with  the  is- 
lands of  San  Giorgio  and  the  Giudecca  opposite,  and  the  Lido  in 
the  distance  to  the  left.  The  ceiling-paintings,  which  represent 
battles  of  the  Venetians,  are  by  P.  Veronese,  Franc.  Bassano,  Jac. 
Tintoretto,  and  Palma  Giovane;  the  best  are  *Venice  crowned  by 
Fame  (in  the  large  oval  next  the  entrance)  by  Paolo  Veronese,  and 
Doge  Niccol6  da  Ponte  in  the  presence  of  Venice,  with  the  senate 
and  ambassadors  of  the  conquered  cities  (in  the  rectangle  in  the 
centre),  by  Jac.  Tintoretto.  —  On  the  frieze  are  the  portraits  of 
76  doges,  beginning  with  Obelerio  Antenoreo  (d.  810),  the  ninth 
doge  of  the  confederation  (p.  220).  Between  the  first  two  portraits 
on  the  end-wall  is  a  black  tablet  bearing  the  inscription :  'Hie  est 
locus  Marini  Falethri  decapitati  pro  oriminibus'  (comp.  p.  288).  — 
On  the  E.  wall,  formerly  covering  Guariento's  frescoes  (p.  291), 
Jac.  Tintoretto's  Paradise,  the  largest  oil-painting  in  the  world 
(72  ft.  by  23  ft. ;  restored  in  1904),  with  a  bewildering  multitude 
of  figures,  many  of  the  heads  of  which  are  admirable. 


Pal.  of  the  Doges.  VKNICK.  47.  Route.    303 

On  Ihe  walls  are  21  large  scenes  iVom  ihe  history  of  the  Kepuljlic  by 
Leandro  and  Francesco  Bassano,  Paolo  Veronese,  Jacopo  and  Domenico  Tinto- 
retto, etc.  These  pictnres  consist  of  two  series.  The  first  illuslrales  in 
.«omevvhat  buastfnl  fashion  the  life  of  Doge  Sehasliano  Ziani  (1173-79),  who 
accorded  an  asylum  to  Pope  Alexander  III.  during  his  strife  with  Fre- 
derick Barharossa  (comp.  p.  802)  and  (in  league  with  the  towns  of  Lom- 
bardy)  resisted  the  imperial  demands;  the  second  depicts  the  exploits  of 
Doge  Enrico  Dandolo  (p.  2891.  The  final  scene  of  the  former  series,  by 
GhiHo  dal  Mora  (on  the  end  wall)  depicts  the  Pope  presenting  gifts  to 
the  Uoge,  including  the  ring,  the  symbol  of  supremacy  with  which  the  Doge 
annaally  'wedded  the  Adriatic',  1177  (comp.  p.  329). 

The  Corridor  contains  a  bust  of  the  Emp.  Francis  I.  aiid^por- 
traits  of  several  senators.  —  The  Sala  deli-o  Scrutinio,  or  Voting 
Hall,  used  at  the  election  of  the  doges  and  other  officials,  is  dec- 
orated similarlj'  to  the  preceding  room.  The  balcony  affords  a  good 
view  of  Sansovino's  Library. 

()n  the  frieze  are  portraits  of  the  last  39  doges,  from  Pietro  Loredan 
(1567-70)  down  to  Lod.  Manin  (1797).  Entrance-wall :  Last  Judgment,  by 
Palma  Giovane;  above,  Prophets,  by  A.  Vicentino.  —  On  the  other  walls 
and  on  the  ceiling:  are  scenes  from  the  history  of  the  Republic,  by  Marco 
YecelU,  Aliense,  Andrea  Vicentino,  Jac.  Tintoretlo,  and  others.  —  Opposite 
the  entrance  :  Monument  erected  in  1694  to  Doge  Francesco  Morosini  'Pelo- 
ponnesiacns',  who  in  1684-90  conquered  the  Morca  and  Athens  (p.  289) ;  the 
bronze  half-ligure  of  the  doge  in  front  is  attributed  to  G.  F.  Alberghetti. 

We  return,  to  the  right,  through  the  Sala  di  Quarantia  Civil 
Nova,  the  civil  court,  which  contains  some  unimportant  paintings. 

The  Sala  Bessarionb,  formerly  the  vestibule  of  St.  Mark's 
Library  (p.  298),  contains  the  remains  of  Guariento's  (p.  291)  large 
fresco  of  Paradise,  brought  hither  from  the  Sala  del  Maggior  Con- 
siglio,  where  it  was  concealed  by  Tintoretto's  Paradise.  Ouarien- 
to's  work  is  said  to  have  been  freely  retouched  as  early  as  1524 
(comp.  also  Jacobello  del  Flore's  copy,  mentioned  at  p.  308).  On 
the  ceiling,  *Adoration  of  the  Magi,  by  Paolo  Veronese,  from  the 
now  demolished  church  of  San  Nicoletto  dei  Frari.  —  To  the  left 
is  the  Sala  hi  Quarantia  Civil  Vecchia,  or  former  room  of  the 
civil  appeal  court. 

The  ARCH.a:oLOGiCAL  Museum  occupies  the  rooms  not  injured 
by  the  lire  of  1577,  in  which  the  doges  resided  down  to  the  close 
of  the  IGth  century.  It  contains  ancient  Greek  and  Roman  sculp- 
tures in  marble,  most  of  them  brought  home  as  booty  by  the  Vene- 
tians from  their  campaigns. 

I.  Room  (Galleria  d'ingresso).  Two  pictures  of  the  Lion  of  St.  Mark, 
by  Jacobello  del  Fiore  (1415),  and  Vitt.  Carpaccio  (1516).  Busts  of  Doges,  in- 
cluding Andrea  Vendramin  and  Francesco  Foscari,  the  latter  a  fragment 
of  the  relief  over  the  Porta  delta  Carta  (p.  299),  demolished  by  the  Ra- 
dicals in  1797. 

II.  Room  (Camera  degli  Scarlatti;  originally  the  doges'  bedroom). 
Fine  early-Renaissance  wooden  ceiling.  Chimney-piece  by  Ant.  and  TvUio 
Lomhardo.  Over  the  entrance  is  a  relief  of  the  Doge  Leon.  Lored.an 
kneeling  before  the  ^■irgin,  perhaps  by  Ant.  RizzoCi);  the  relief  of  the 
Madonna,  opposite,  dates  from  1528.     Portraits  of  Doges. 

III.  Room  (Sala  dello  Scudo).  In  front  of  the  entrance  to  the  Sala 
dei  Filosofi  (p.  301),  the  famous  "Map  of  the  world  by  the  Camaldulensian 


304    Routed?.  VENICE.         a.  Piazza  of  St.  Mark. 

monk  Fra  Mauio,  1457-59;  adjacent,  to  the  right,  six  tablets  of  carved  wood 
from  the  planisphere  of  Hadji  Meheraet  of  Tunis  (1559),  captured  by  the 
Venetians  in  the  17th  century.  On  the  walls,  other  old  maps.  In  the 
cases,  Roman  and  Byzantine  coins.  —  The  door  to  the  left  leads  into  the  — 

IV.  Room  (Sala  dei  Busti),  with  a  fine  early -Renaissance  wooden 
ceilintr  and  a  chimney-piece  by  Ant.  Mnd  TnUio  Lomhardo.  Numerous 
busts  of  Roman  emperors  (the  best  Vitellius,  opposite  the  entrance).  In  the 
centre  are  Venetian  medals,  etc.  —  We  now  pass  in  a  straight  direction 
into  the  — 

V.  Room  (Sala  dei  Bronzi),  with  chimney-piece  and  magnificent  ceiling 
of  the  16th  century.  Small  sculptures  in  marble,  bron/e,  and  ivory.  Dies 
for  Venetian  coins.     Greek  vases      Egyptian  antiquities. 

W.  Room  (Stanza  degli  Stucchi),  decorated,  like  R.  VII,  with  stucco 
reliefs  of  the  18th  cent'iry.  Show-cases  with  Venetian  coins.  By  the 
window,  a  narwhal-horn,  with  carvings.  —  To  the  right  is  the  — 

VII.  Room  (Sala  dei  Filosofi),  From  the  steps  of  the  staircase  by  the 
right  wall  we  see  an  interesting  *Fresco  of  St.  Christopher,  by  Titian, 
painted  about  1524.  In  the  wall  of  an  adjacent  corridor  is  a  memorial  of 
the  monument  of  Thomas  Mowbray,  Duke  of  Norfolk,  who  was  banished 
by  Richard  II.  The  Duke  died  at  Venice  in  1399  and  was  buried  in  the 
vestibule  of  f-an  Marco  (p.  295).  His  body  was  removed  to  Kngland  in  1533, 
while  his  monumental  tombstone  remained  in  situ  till  1840;  when  it  also 
wa-i  taken  to  England.  —  The  door  in  the  N.E.  corner  of  this  room  leads 
to  the  — 

VIII. -X.  Rooms  (Stanze  del  Doge).  Round  the  walls  of  the  first  room 
(Stanza  Gialla)  are  bronze  sculptures  of  the  Renaissance:  Al.  Viitoria,  Bust 
of  Doie  Seb.  Venier;  Ant.  Lomhardi,  Assumption  and  Coronation  of  the 
Virgin,  reliefs  from  the  destroyed  monument  of  the  Doges  JIarco  and 
Ago«t.  Barbarigo  in  the  Carita;  Riccioil),  Four  reliefs  from  the  legend  of 
the  Holy  Cross,  and  (opoosite)  Tabernacle  door  from  the  i;hurch  of  St.  Servus 
(destroyed  in  1812);  Riccio(^!-],  St.  Martin;  Camelio,  Battle-scenes.  Tullio 
Lombardi,  Double  relief-ponrait  in  marble;  Doge's  hat  (corno  ducale).  In 
the  show-cases  are  fine  me'lals  and  plaquettes  by  Pisanello,  Matteo  de'  Pasti, 
Sperandio ,  Leone  Leoni,  and  others.  In  the  middle,  coins  (oselle)  froxn 
Murano,  ivory  reliefs,  and  cameos  (among  them,  Zeus  Aigiochos).  —  In 
the  next  room  (Stanza  Grigia)  is  a  chimney-piece  by  Pietro  Lombardi  {1). 
Antiquities:  oppo-iiie  the  windows,  Rape  of  Ganymede,  a  Rnman  work, 
freely  restored.  By  the  exit-wall,  three  'ConC|uered  Gauls,  resembling  the 
Dying  Gladiator  at  Rome  and  connected  with  similar  statues  at  Naples  and 
Rome,  ancient  copies  of  the  groups  erected  on  the  Acropolis  of  Athens 
by  Attalus  I.,  King  of  Pergaraum,  about  B.C.  239.  after  his  victory  over 
the  Gauls  at  Sardes.  Cupid  bending  his  bow,  perhaps  after  Lysippus.  — 
The  third  room  (Stanza  A/.zurra)  also  contains  ancient  marbles,  including 
two  R  iman  triiiod-liases  with  armed  Cupids.  Above  i^  a  faded  fresco  of 
theJIadonna  and  two  angels,  by  Titian.  —  We  now  pass  through  the  Sala 
dello  Scudo  iu'o  the  — 

XI.  Room  (Stanza  dei  Bassorelievi).  Entrance-wall,  immediately  to 
the  right.  Fragment  of  a  Greek  tomb-relief.  F.irther  on,  ^'Fragment  of  an 
Attic  frieze  of  a  naval  battle  between  Greeks  and  Persians.  In  the  corner, 
Square  Roman  altar,  with  charming  representations  of  satyrs.  On  the 
exit-wall,  in  the  middle.  Front  of  a  Roman  sarcophagus,  representing  the 
death  of  the  children  of  Niobe;  to  the  left,  Warrior  sacrificing. 

We  now  descend  tlie  staircase  and  beyond  the  Scala  dei  Censori 
fp.  300)  pass  through  the  second  door  to  the  right  (marked  'Prigi- 
oni'},  from  which  a  narrow  passage  leads  to  the  lofty  Bridge  of 
Sighs  {Ponte  dei  Sospiri;  VI.  H,  5),  which  was  constructed  by 
Ant.  Contino  in  1595-1605  and  connects  the  Palace  of  the 
Doges  with  the  Carceri  or  Prigioni  Criminali,  built  in  1571-97  by 
6iov.  da  Ponte.  These,  the  prison  for  ordinary  criminals,  are  still 
in  use,  while  the  notorious  Piombi,  or  prisons  under  the  leaden  roof 


a.  Riva  degli  ScMavoni.      VENICE.  ^.  Route,   305 

of  the  Palace,  were  destroyed  in  1797.  A  staircase  descends  from 
the  above-mentioned  passage  to  the  Pozzi,  a  series  of  gloomy  dun- 
geons, with  a  torture-chamber  and  the  place  of  execution  for  po- 
litical criminals.  Too  much  sentiment  need  not  be  wasted  on  the 
Bridge  of  Sighs,  as  the  present  structure  —  that  'pathetic  swindle' 
as  Mr.  Howells  calls  it  — ,  serving  merely  as  a  means  of  communi- 
cation between  the  Criminal  Courts  and  the  Criminal  Prison,  has 
probably  never  been  crossed  by  any  prisoner  whose  name  is  worth 
remembering  or  whose  fate  deserved  our  sympathy. 

A  good  survey  of  the  Bridge  of  Sighs  and  of  the  handsome  E, 
side  of  the  Doges'  Palace,  more  harmonious  in  appearance  than  the 
W.  side,  with  a  basement  of  facetted  stone,  is  obtained  from  the 
Ponte  di  Canonica  (p.  324)  or  from  the  Ponte  dtlla  Paglia,  which 
connects  the  Molo  with  the  *Riva  degli  ScMavoni  (Pl.U,  I,  5; 
'quay  of  the  Dalmatians'),  a  quay  paved  with  unpolished  marble. 
This  quay  presents  a  busy  scene,  being  the  most  popular  and 
sunniest  lounge  in  Venice.  In  1887  it  was  embellished  with  an 
equestrian  Statue  of  Victor  Emmanuel  II.,  by  E.  Ferrari;  at  the 
back  of  the  pedestal  is  Venetia  enslaved,  in  front  Venetia  liberated. 
The  Hotel  Danieli  (p.  281)  was  the  home  of  Alfred  de  Musset  anil 
George  Sand  in  1833.  —  Beyond  the  next  bridge  rises  the  church 
of  Santa  Maeia  dklla  Pieta  (PI.  I,  o),  with  a  new  fai,ade  (1905): 
in  the  high -choir,  above  the  principal  entrance,  *C'hrist  in  the 
house  of  the  Pharisee  by  Moretto  (1544);  on  the  ceiling,  Victory 
of  the  Faith,  by  Tiepolo.  Near  this  church  is  the  Casa  del  Petrarca, 
presented  by  the  Republic  to  Petrarch  in  13G2. 

For  the  adjoining  churches  of  S.  Zaccaria,  S.  Giorgio  dei  Oreci, 
and  S.  Oiovanni  in  Bragora,  see  pp.  3'25,  328,  329 ;  for  the  Arsenal 
and  the  Giardini  Pubblici,  see  p.  329. 


b.   From  the  Piazza  of  St.  Mark  to  the  Academy. 

The  passage  in  the  S.W.  corner  of  the  Piazza  of  St.  Mark  leads 
to  the  Salizzada  San  Moisb,  with  its  numerous  shops.  To  the 
right  is  the  Frezzeria  (p.  286),  another  busy  street.  To  the  left,  in 
the  Campo  San  Moise,  is  the  church  of  San  Moise  (PI.  G,  6),  with 
an  over-decorated  facade  by  Al.  Tremignan  (1668),  'notable',  says 
Mr.  Ruskin,  'as  one  of  the  basest  examples  of  the  basest  school  of 
the  Renaissance'.  John  Law  (1671-1729),  originator  of  the  'Missi- 
ssippi Scheme',  Is  buried  in  this  church.  Beyond  it  we  cross  the 
bridge  and  proceed  straight  on  along  the  Via  Ventidue  Marzo. 

The  second  side-street  to  the  right,  the  Callt?  delle  Vtste,  leads  to  the 
Campo  San  Fantino,  in  whiih  are  situated  the  Teairo  Fenice  (PI.  F.  6);  the 
Ateneo  Venelo  (see  p.  2^6),  a  Renaissance  building  by  Al.  Viltoria,  formtrly 
the  Scnola  di  San  Oirolamo;  and  the  interesting  church  of  "San  Fantino, 
built  in  the  early-Eenai-sance  style  after  15(./7  by  ^wrpa^/it/o,  which,  apart 
from  ils  groined  vaulting,  may  be  regarded  as  a  precurjor  of  San  Salvatore 
(p.  3'Jl).  The  fine  choir  of  S.  Faritino  is  by  Jac.  Sansovino  (1549);  in  the 
pavement  are  tombstones  of  the  16th  century. 

Uai£i>kkke.  Italy  I.    13th  Edit.  20 


306   Route  d7.  VENICE.  h.  From  St.  Mark  to 

The  Via  Ventidne  Marzo  crosses  a  second  bridge  and  leads  to 
the  church  of  Santa  Maria  del  Giglio  or  Santa  Maria  Zobenigo 
(PI.  F,  6),  erected  in  1680-83  by  Oius.  Sardi  for  the  Barbaro  family 
{^harharo  monumento  del  decadimento  delV  arte',  aa  it  has  been  called). 
The  niches  of  the  baroque  fai;ade  contain  statues  of  members  of  the 
family.  At  the  base  of  the  lower  row  of  columns  are  plans  of  Zara, 
Candia,  Padua,  Rome,  Corfu,  and  Spalato,  hewn  in  the  stone;  above 
are  representations  of  naval  battles. 

Leaving  this  church,  we  cross  the  Campo  San  Maurizio,  where  the 
small  church  of  that  name  is  situated,  to  the  larger  Campo  Fbancesco 
MoEoeiNi  (PI.  E,  F,  6),  which  is  embellished  with  a  marble  statue 
of  Niccolb  Tommaseo,  philosopher  and  teacher  (d.  1874).  To  the 
left  Is  the  Pal.  Morosini^  formerly  renowned  for  its  art-treasures, 
and  to  the  right  is  — 

*Santo  Stefano  (PI.  F,  5,  6),  a  Gothic  church  of  the  14th  cent. , 
with  an  elegant  facade  in  brick  (restored  in  1904),  rich  leaf-work 
over  the  portal,  and  good  window-mouldings  in  terracotta.  The  in- 
terior (recently  restored)  has  a  peculiarly  constructed  vaulting  of 
wood,  which,  along  with  the  wide  intervals  of  the  slender  columns, 
imparts  a  very  pleasing  appearance  to  the  interior  and  recalls  San 
Fermo  at  Verona  (p.  252). 

Entrance  Wall,  to  the  right  of  the  principal  door,  is  the  fine  tomb 
of  the  physician  Jacopo  Suriano  (d.  1511).  The  ornamental  paintings  in 
the  nave  were  renewed  in  1903;  on  the  pavement  is  the  large  tomb- 
stone of  the  Doge  Francesco  Morosini  (d.  1694;  p.  289).  —  Choir.  On  the 
marble  screens,  statues  of  the  twelve  Apostles  and  four  saints,  from  the 
studio  of  Pietro  Lombardi  (1475).  Renaissance  stalls  by  Marco  and  Fran- 
cesco Cozti  (1465-88).  —  In  the  chapel  to  the  left  of  the  choir  is  the  tomb 
of  the  jurist  6iov.  Batt.  Ferretti,  by  Sanmicheli  (1).  —  Left  Aisle.  3rd  altar, 
statues  of  St.  Jerome  and  St.  Paul  by  Pietro  Lombardi. 

Behind  the  church  stands  a  Gothic  Campanile  (restored  in  1903). 
—  Adjoining  the  church  on  the  left  are  handsome  Cloisters  (1632), 
with  the  remains  of  fine  frescoes  by  Pordenone  on  the  upper  story. 

Crossing  the  cloisters,  we  reach  the  Campo  Sanf  Angela  (PI.  F,  5),  with 
a  marble  monument  to  Paleocapa,  the  minister  (p.  38).  —  Farther  to  the 
N.E  ,  near  the  Tealro  Rossini,  is  the  Piazza  Manin  (PI.  F,  G,  6),  adorned 
with  a  Monument  of  Daniele  Manin  (p.  2C0)  in  bronze.  On  the  Cassa  di 
Risparmio  (Savings  Bank),  in  this  square,  is  a  marble  tablet  commemorat- 
ing the  fact  that  the  famous  Aldine  Press  once  occupied  this  site.  [The 
tablet  on  another  house  in  the  parish  of  S.  Agostino,  associating  it  also 
with  Aldus,  is  probably  wrong;  comp.  'The  Venetian  Printing  Press',  by 
E.  F.  Brown.]  We  then  traverse  the  Calle  della  Vida  (right)  and,  taking 
the  first  side-s'reet  to  the  right,  reach  the  Palazzo  Contarini  dal  Bovolo 
(PI.  F,  5),  now  belonging  to  the  Congregazione  di  Caritk.  This  contains 
the  'Scala  Minelli  or  Scala  a  Chiocciola,  a  curious  spiral  staircase  in  a 
round  tower  of  Istrian  marble,  constructed  by  Giov.  Candi  (d.  1499). 

We  now  retrace  our  steps  and  cross  the  Campo  Morosini  to  the 
S.E.  to  the  *Palazzo  Pisani  a  Santo  Stefano  (PI.  F,  6;  now  a  con- 
gervatorium),  situated  in  a  small  piazza  off  the  main  track.  This 
is  a  good  example  of  the  residence  of  a  rich  merchant  of  the  baroque 
period,  with  spacioxis  halls  and  courts  and  magniflcont  interior  de- 


the  Academy. 


VENICE. 


47.  Route.   307 


Cldcif^    rm-,>,) 


coratioii.    The  banqueting-liall  is  adorned  with  frescoes  by  Vitt.  Bres- 
aanin  (1905)  representing  the  Glorification  of  music. 

A  few  paces  to  the  S.W.  of  the  Campo  Morosini  lies  the  church 
of  San  Vitale  (PI.  E.  6),  built  about  1700  by  Andr.  Tirali.  It  con- 
tains (behind  the  high-altar)  a  good  painting  by  Carpaccio,  of  St. 
Vitalis  on  horseback  surrounded  by  four  saints ;  above,  four  other 
saints  and  the  Madonna  in  clouds  (1514).  —  From  the  adjoining 
Campo  San  Vitale  we  then  cross  the  Grand  Canal  by  the  iron  bridge 
(p.  315)  to  the  Campo  delta  Caritit  (p.  315)  and  the  Academy. 

The  **Accademia  di  Belle  Arti  (PI.  E,  6)  occupies  the  old  Scuola 
di  Santa  Maria  delta  Caritii,  the  assembly-hall  of  this,  the  oldest 
brotherhoodin  Venice  (founded  1360),  which  lieson  the  Grand  Canal 
(steamboat-station,  p.  284),  and  may  be  reached  on  foot  from  the  Piazza 
of  St.  Mark  in  10  minutes.  The  en- 
trance is  almost  opposite  the  iron 
bridge,  to  the  right,  under  a  figure 
of  Minerva  with  the  lion ;  the  ticket- 
office  is  immediately  to  the  right  of 
the  entrance,  whence  we  ascend  the 
staircase. 

Admission ,  see  p.  287 ;  large 
catalogue  in  preparation;  small 
catalogue  (1904),  V/^  fr.  Director, 
Siynor  Cantalamessa. 

The  gallery,  which  was  founded 
in  1798 ,  contains  about  700  pic- 
tures, chiefly  by  Venetian  masters, 
and  possesses  many  works  of  the 
first  class,  besides  an  abundance  of 
mediocre  paintings.  The  ordinary 
visitor  will  be  most  interested  in  the 
canvases  of  the  Bellini  and  the  great 
masters  ofthe  following  period.  The 
historical  paintings  by  Gentile  Bel- 
lini and  Vittore  Cardaccio  in  Rooms  XV  and  XVI  present  a  lifelike 
picture  of  ancient  Venice,  while  the  brilliance  of  their  colouring 
makes  us  forget  the  poverty  of  their  execution  and  the  want  of  in- 
dividuality in  their  figures  and  gronps.  It  is  instructive  to  compare 
the  Venetian  manner  with  the  mode  in  which  contemporary  Floren- 
tine artists  arrange  their  groups  and  describe  historical  events.  In 
the  case  of  the  numerous  pictures  of  Oiovanni  Bellini  (Room  XVIIi) 
the  attention  is  chiefly  arrested  by  his  'santa  conversazione'  pieces 
(p.  291),  by  the  beauty  of  his  nude  figures,  and  by  his  vigorous 
though  not  very  saint-like  male  figures.  A  picture  by  Boccaccio 
Boccaccino  (Room  XVII,  No.  600),  a  little-known  master  of  the 
•  earlier  school,   is  one  of  the  best  of  that  period.    Palma  Vecchio  is 


represented  here  by  one  of  his  best  works, 


a  Holy  Family  (R.  VII, 
20* 


308   Route  47.  VENICE  h.  Academy. 

No.  147).  Rocco  Marconi  s  Descent  from  tlie  Cross  (R.  V,  No.  166), 
if  genuine,  is  one  of  his  finest  efforts.  Titian's  masterpiece,  the 
Assumption  of  the  Virgin  (R.  II,  No.  40),  requires  no  comment; 
the  glowing  rapture  of  the  apostles,  the  jubilant  delight  of  the 
angels,  the  beaming  bliss  of  the  Madonna,  and  the  magnificence 
of  the  colouring  cannot  fail  to  strike  the  eye  of  every  beholder.  The 
gallery  comprises  also  the  last,  uncompleted  creation  of  this  master: 
the  Pietk  in  R.  X  (No.  400).  His  Presentation  in  the  Temple 
(R.  XX ,  No.  626)  is  also  very  attractive  ovring  to  the  spirited 
grouping  and  the  beauty  of  the  individual  figures.  Bonifazio  I.'s 
wealth  of  colour  is  displayed  in  the  Story  of  Dives  (R.  X,  No.  291), 
the  Massacre  of  the  Innocents  (R.  X,  No.  319),  and  his  small  Madonna 
(R.  X,  No.  269).  The  Miracle  of  St,  Mark  (R.  II,  No.  42)  by  Jacopo 
Tintoretto,  and  the  Supper  in  the  house  of  Levi  (R.  IX,  No.  203) 
by  Paolo  Veronese,  are  specially  interesting. 

The  double  staircase  ends  in  — 

Room  I  (Sala  dei  Maestri  Primitivi).  The  finely  carved  wooden 
ceiling,  by  Marco  Cozzi  [1461-84),  is  adorned  with  paintings  by  Al- 
vise  Vivarini  (God  the  Father)  and  Dom.  Campagnola.  Pictures  of 
the  14-15th  cent.,  some  in  fine  original  frames.  On  the  right  side- 
wall:  10.  Lorenzo  Fenesiano,  Altar-piece  in  numerous  sections  (in 
the  centre  the  Annunciation,  1358);  above  it,  God  the  Father  by 
Franc.  Bissolo ;  1.  JacobeUo  del  Fiore,  Paradise,  with  the  Coronation 
of  the  Virgin  in  the  centre,  a  copy  of  Guariento's  fresco  (p.  303); 
33.  Michele  Qiambono  ,  Coronation  of  the  Virgin  (a  copy  of  the  ori- 
ginal by  Ant.  Vivarini  and  Oiov.  Alemanno  in  San  Pantaleone,  p.  338). 
Left  side  wall :  24.  Mich.  Lambertini  (Bologna ;  d.  1469),  Altar-piece, 
with  scenes  from  the  Legend  of  the  Holy  Cross  in  the  predella. 

Room  II  (Sala  dell'  Assunta)  containing  the  masterpieces  of  the 
collection:  **40.  Titian,  Assumption  ('Assunta'),  painted  in  1516- 
18  for  the  Frari  (p.  335),  whose  high-altar  it  once  adorned,  and 
several  times  restored. 

'There  is  nothing  so  remarkable  in  this  enchanting  picture  as  the  con- 
trast between  the  apparent  simplicity  of  the  results,  and  the  science  with 
which  these  results  are  brought  about.  Focal  concentration  is  attained  by 
perspective  science,  applied  alike  to  lines  and  to  atmosphere,  at  the  same 
time  that  a  deep  and  studied  intention  is  discoverable  in  the  subtle 
distribution  of  radiance  and  gloom.  .  .  .  Something  indescribable  strikes 
us  in  the  joyful  innocence  of  the  heavenly  company  whose  winged  units 
crowd  together  singing,  playing,  wondering  and  praying,  some  in  light, 
some  in  half  light,  others  in  gloom,  with  a  spirit  of  life  moving  in  them 
that  is  quite  delightful  to  the  mind  and  the  eye.  Like  the  bees  about 
their  queen  this  swarm  of  angels  rises  with  the  beauteous  apparition  of 
the  Virgin,  whose  noble  face  is  transfigured  with  gladness,  whose  step  is 
momentarily  arrested  as  she  ascends  on  the  clouds ,  and  with  upturned 
face  and  outstretched  arms  longs  for  the  heaven  out  of  which  the  Eternal 
looks  down.  To  this  central  point  in  the  picture  Titian  invites  us  by  all 
the  arts  of  which  he  is  a  master.  .  .  .  The  apostles  we  observe  are  in 
shade.  An  awfully  inspired  unanimity  directs  their  thoughts  and  eyes 
from  the  tomb  round  which  they  linger  to  the  circle  of  clouds  beauti- 
fully supported  in  its  upward  passage  by  the  floating  shapes  of  the 
angels.    The  lifelike  semblance  of  nature  in  these  forms,  and  the  marvellous 


b.  Academy.  VENICE.  47.  Rout€.   309 

power  with  which  their  various  sensations  of  fear,  devotion,  reverent 
wonder,  and  rapture  are  expressed,  raise  Titian  to  a  rank  as  high  as  that 
held  by  Raphael  and  Miohaelangelo.''  —   Crowe  tt  Cavalcaielle . 

Entrance-wall :  44.  Vitt.  Carpaccio,  Presentation  in  the  Temple 
(1510);  36.  Cima  da  Conegliano,  Madonna  enthroned,  with  saints  and 
angels  making  music;  above,  *4t.  Paolo  Veronese,  Ceres  offering  her 
gifts  to  the  enthroned  Venetia.  —  To  the  left,  *37.  Paolo  Veronese, 
Madonna  enthroned,  with  saints.  —  *38.  Giov.  Bellini,  Madonna 
enthroned,  in  a  richly  decorated  niche,  with  SS.  Sebastian  and 
Dominic  and  a  bishop  to  the  right,  and  Job,  St.  Francis,  and  John 
the  Baptist  to  the  left;  on  the  steps  of  the  throne  are  three  angels. 
This  is  one  of  the  finest  works  of  the  artist  (ca.  1478).  39.  Marco 
Basaiti,  Call  of  James  and  John,  the  Sons  of  Zebedee,  dating  from 
1510  and  marking  with  No.  69  in  Room  V,  painted  the  same  year,  the 
highest  level  reached  by  Basaiti  under  the  influence  of  Giov.  Bellini. 

—  Opposite,  *42.  Jac.  Tintoretto,  St.  Mark  rescuing  a  slave;  this 
painting,  from  the  Scuola  di  San  Marco,  belongs  to  the  same 
series  (1548)  as  those  mentioned  on  pp.  141,  298.  ■ —  The  steps 
lead  to  — 

Room  III  (Sala  del  Maestri  Italian!  Diversi).  Entrance-wall:  62. 
Bihera,  Martyrdom  of  St.  Bartholomew;  59.  Caravaggio,  ITomer. 
Opposite,  56.  Garofalo,  Madonna  in  clouds,  with  four  saints  (1518). 

—  The  door  to  the  left  leads  to  — 

Room  IV  (Disegni),  with  ceiling-paintings  by  Benedetto  Caliari 
(Assumption)  and  Tintoretto  (Allegories).  By  the  en  trance -wall, 
in  Case  80,  are  drawings  by  Albert  Diirer,  Hans  Baldung  Grien,  etc. 
In  the  centre  is  the  so-called  ''Sketch  Book  of  RaphaeV  (not  genuine; 
perhaps  by  a  pupil  of  Pinturicchio).  By  the  back-wall,  in  the  show- 
cases: 35,  38.  Drawings  by  Michael  Angela ;  39,  42,  43,  46.  *Draw- 
Ings  by  Leonardo  da  Vinci,  including  studies  for  John  the  Baptist 
(in  the  Louvre),  the  missing  Adoration  of  the  Shepherds,  the  Last 
Supper  (p.  164),  and  the  Battle  of  Anghiari  (p.  473).  —  We  now 
return  to  Room  III  and  pass  to  the  left  into  — 

Room  V  (dei  Belliniani).  Entrance-wall :  69.  Basaiti,  Christ  on 
the  Mt.  of  Olives  (see  No.  39,  in  Room  II).  To  the  loft:  102.  Basaiti, 
St.  George  and  the  Dragon  (1520);  76.  Marco  Marziale,  Supper  at 
Kmmaus  (1506);  *166.  Rocco  Marconi(y),  Descent  from  the  Cross, 
the  group  in  the  centre  of  great  beauty;  80.  Bart.  Montagna,  Ma- 
donna enthroned ,  with  SS.  Sebastian  and  Jerome ;  79.  Franc. 
Bissolo,  St.  Catharine  of  Siena  receiving  the  Crown  of  Thorns 
from  Christ.  —  89.  Carpaccio,  Martyrdom  of  the  10,000  Christians 
on  Mt.  Ararat  (1515).  —  We  now  pass  through  the  first  door  to  the 
right  into  — 

Room  VI  (Sala  A.  van  Dyck).  To  the  right,  176.  A.  van  Dyck, 
Christ  on  the  Cross. 

Room  VII  (dei  Bergamaschi).  To  the  left,  169.  Girol.  da  Santa 
Croce,  SS.  Gregory  and  Augustine.  —  Opposite,  151.  Pellegrino  da 


310  Route  47.  VENICE.  i.  Academy. 

San  Daniele,  Annunciation  ('1519).  —  In  the  centre,  *147.  Palma 
Vecchio,  Holy  Family  with  SS.  John  the  Baptist  and  Catharine,  an 
nnflnished  late  work. 

Room  VIII  (dei  Fiammlnghi).  Entrance  -  wall :  180.  J.  Sfeen, 
Astrologer;  368.  Ad.  Elsheimer,  Peter's  denial,  an  early  work.  ■ — • 
Opposite:  *191.  Rogier  van  der  Weyden,  Portrait  of  a  man;  586. 
Memling,  Portrait  of  a  young  man  (copy?).  —  By  the  exit,  182,  184. 
H.  Bosch,  Scenes  in  Hades.  —  We  now  return  to  R.  V  and  ascend 
the  steps  to  — 

Room  IX  (di  Paolo  Veronese).  On  the  end-wall  to  the  right, 
*203.  Paolo  Veronese,  Jesus  in  the  house  of  Levi  (1573),  a  master- 
piece of  the  artist,  who  has  used  the  historical  incident  as  a  pretext 
for  delineating  a  group  of  handsome  figures  in  the  unfettered  enjoy- 
ment of  existence  (much  damaged).  —  Opposite,  217.  Jac.  Tinto- 
retto, Descent  from  the  Cross.  —  To  the  right,  252.  Leandro  Bassano, 
Raising  of  Lazarus ;  260.  Paolo  Veronese,  Annunciation. 

Room  X  (di  Bonifazio).  To  the  left,  Bonifazio,  269.  Madonna 
with  saints,  280.  SS.  Bernard  and  Sebastian. 

*291.  Bonifazio,  Banquet  of  Dives. 

'An  attractive  narrative  composition,  affording  us  a  glimpse  of  the 
private  life  of  a  Venetian  aristocrat.  In  the  splendour  of  the  colouring, 
the  beauty  of  the  forms,  and  the  charm  of  the  landscape  in  the  back- 
ground, we  may  recognize  the  influence  of  Titian's  masterpieces  of  ca. 
1510-20'.  —  Burckhardt. 

Bonifazio,  284.  Christ  enthroned,  with  saints  (1530),  318.  St. 
Mark.  —  302.  Palma  VeccMo{^\,  St.  Peter  enthroned,  vrtth  six  saints 
(retouched).  —  *400.  Titian,  Pietk,  his  last  picture,  on  which  he 
was  engaged  at  the  time  of  his  death  in  his  99th  year,  completed 
hy  Palma  Oiovane  in  1576,  as  the  inscription  records. 

'It  may  be  that  looking  closely  at  the  'Pieta',  our  eyes  will  lose 
themselves  in  a  chaos  of  touches;  but  retiring  to  the  focal  distance,  they 
recover  themselves  and  distinguish  all  that  Titian  meant  to  convey.  In 
the  group  of  the  Virgin  and  Christ  —  a  group  full  of  the  deepest  and 
truest  feeling  —  there  lies  a  grandeur  comparable  in  one  sense  with  that 
vrhich  strikes  us  in  the  'Pieta'  of  Michaelangelo.'  —  C.  &  C. 

321.  Pordenone,  Madonna  of  the  Carmelites,  with  saints  (in- 
jured); 319.  Bonifazio,  Massacre  of  the  Innocents;  *320.  Paris  Bar- 
done,  Fisherman  presenting  the  Doge  with  the  ring  received  from 
St.  Mark,  probahly  the  most  beautiful  ceremonial  picture  in  existence 
(Burckhardt). 

316.  Pordenone,  SanLorenzoGiustinianl,  with  John  the  Baptist, 
St.  Francis,  St.  Augustine,  and  three  other  figures. 

'The  composition  unites  all  the  peculiar  qualities  of  the  master,  and 
we  can  see  that  a  supreme  effort  has  been  made  to  produce  a  grand  im- 
pression. The  vrork,  however,  cannot  be  put  on  a  level  with  the  great 
creations  of  Titian'.  —  C.  tt  C. 

In  the  centre,  295.  Bonifazio,  Judgment  of  Solomon  (1533).  — 
In  the  recess,  Canova,  Original  model  for  the  group  of  Hercules  and 
Lichas.  —  We  enter  the  Loggia  Palladiana  and  turn  to  the  right 
into  — 


b.  Academy.  VENICE.  47.  Route.    311 

Room  XI  (dei  Bassani).  This  room  contains  pictures  by  Francesco 
Baaaano,  Jacopo  Basaano,  and  Leandro  Bassano.  —  We  then  return 
to  the  — 

Loggia.  Palladiana.  The  numbering  of  the  pictures  (17-18th 
cent),  begins  at  the  opposite  end,  to  the  right:  Hondecoeter,  345. 
Victorious  cock,  344.  Poultry;  Jan  Fyt,  Dead  game  (1642);  above, 
843.  0.  B.  Tiepolo,  The  Brazen  Serpent  (injured).  —  To  the  right 
through  Rooms  XIV  &  XIII  into  — 

Room  XII  (dei  Secoli  XVII  &  XVIII).  On  the  back-wall:  643. 
Luca  Oiordano,  Descent  from  the  Cross.  —  Room  XIlI  (di  Rosalba 
Carriera),  with  twelve  pastels  by  Rosalba  Carriera.  Also,  464-469. 
Paintings  by  Pietro  Longhi,  of  interest  on  account  of  their  illustra- 
tion of  Venetian  costumes  and  customs  in  the  18th  century. 

Room  XIV  (del  Tiepolo).  On  the  back-wall,  462.  Tiepolo,  St. 
Helena  finding  the  Holy  Cross,  one  of  the  master's  finest  ceiling 
paintings  (restored).  On  the  left  wall,  484.  Tiepolo,  St.  Joseph  with 
the  Holy  Child  and  four  saints;  Ant.  Canale  (Canaletto),  494.  Scuola 
di  San  Marco,  463.  Palace-court  (1765);  709.  Franc.  Guardi,  Islands 
of  San  Giorgio  Maggiore  and  Giudecca.  —  We  next  pass  through  the 
Loggia  Palladiana  into  — 

CoRBiBOES  I  &  II,  with  unimportant  pictures  of  the  16th  and 
17th  cent.;  in  Corridor  I.  to  the  right,  516.  Paris  Bordon€{?),  Storm 
(retouched).  From  the  last  window  in  Corridor  II.,  fine  view  of 
Palladio's  building  (see  p.  313).  —  The  middle  door  (right)  leads 
into  — 

Room  XV  (di  Gentile  Bellini),  with  pictures  from  the  Scuola  di 
San  Giovanni  Evan gelista  (p.  336),  representations  of  the  Miracles  of 
the  Cross,  etc.  To  the  left  of  the  entrance,  563.  Gentile  Bellini, 
High-altar-piece,  with  adoration  of  a  fragment  of  the  Cross  (injured); 
*566.  Carpaccio,  Cure  of  a  lunatic,  with  the  old  Rialto  Bridge  in  the 
background.  Gentile  Bellini,  *567.  Procession  in  the  Piazza  S.  Marco 
(1496),  where  the  piazza  differs  from  its  present  form ;  568.  Miraculous 
finding  of  a  fragment  of  the  'True  Cross',  which  had  fallen  into  the 
canal  (1600);  670.  San  Lorenzo  Giustiniani,  a  tempera  painting  on 
canvas  from  the  church  of  the  Madonna  del  Orto  (1465 ;  much  injured). 
—  In  the  apse  to  the  right:  669,  571.  Giov.  Marmieti,  Miracles  of 
St.  Mark.  —  We  now  return  to  Room  XV  and  enter  — 

Room  XVI  (del  Carpaccio),  with  nine  ""Scenes  from  the  legend 
of  St.  Ursula,  painted  by  Vittore  Carpaccio  in  1490-95  for  the  Scuola 
di  Sant'  Orsola  in  Venice. 

Beginning  to  the  right  of  the  exit:  572.  The  amhassa-'ors  of  the  pagan 
king  of  England  bring  to  King  Maurus,  father  of  St.  Ursula,  the  proposals  of 
their  master  for  the  hand  of  his  daughter;  to  the  right,  the  king  deliberates 
over  the  matter;  573.  The  ambassadors  depart  with  the  answer  that  the 
bride  desired  the  postponement  of  the  marriage  for  three  years,  in  order 
to  make  a  pilgrimage  to  Rome,  accompanied  by  eleven  thousand  virgins  ; 

574.  Return  of  the  ambassadors  to  England  and  their  report  to  the  king; 

575.  Double  picture,    representing   the   Departure  of  the   English  prince, 
who  has  resolved  to  share  in  the  pilgrimage,  and  his  Meeting  with  Ursula 


312    Route  47.  VENICE.  6.  Academy. 

(on  shipboard) ;  67G.  Apotheosis  of  St.  Ursula ;  577.  Ursula,  her  companions, 
and  the  prince  receive  the  blessing  of  Pope  Cyriacus  (in  the  background 
rises  the  Castel  Sant'  Angelo);  "578.  The  sainfs  dream  of  her  martyrdom; 
579.  Arrival  of  St.  Ursula  at  Coldgne;  580.  Martyrdom  of  the  saint  and 
her  virgins,  who  are  pierced  yyith  arrov?s ;  and  burial  of  the  saint.  —  The 
style  in  which  the  legend  is  narrated  is  almost  too  simple,  but  interest- 
ing on  account  of  the  admirable  perspective  and  faithful  rendering  of  real 
life.  The  traveller  who  has  visited  Belgium  cannot  fail  to  compare  this 
work  with  the  celebrated  shrine  of  St.  Ursula  at  Bruges,  painted  by  Hans 
Memling  about  the  same  time  (1489)  for  the  Hospital  of  St.  John  there. 
The  execution  of  the  northern  artist  is  tender  and  graceful,  almost  like 
miniature  painting,  while  the  extensive  canvases  of  his  Venetian  con- 
temporary are  vigorous,  almost  coarse  in  character. 

Through  the  adjoining  Vestibule,  with  some  modern  sculptures, 
we  reach  — 

Room  XVII,  ■which  contains  masterpieces  of  the  close  of  the 
15th  century.  To  the  left:  658.  Lima  da  Conegliano ,  Madonna 
enthroned,  with  SS.  Dionysius  and  Liheralis;  in  the  lunette  ahove, 
Christ  blessing,  between  SS.  Peter  and  Paul  (retouched).  —  628. 
Coaimo  Tura,  Madonna;  47.  Plero  delta  Fraiicesca,  St.  Jerome,  with 
adoring  donor  (damaged);  607.  Alvise  Vivarini,  Madonna  enthroned, 
with  saints  (1480).  —  590.  Antonello  Saliba  da  Messina,  Madonna  at 
prayer;  589.  Pietro  da  Messina,  Ecce  Homo.  —  *588.  Mantegna,  St. 
George,  grandly  conceived,  and  executed  with  the  delicacy  of  a  minia- 
ture; *600.  Boccaccio  Boccaccino ,  Madonna  with  SS.  Peter,  John 
the  Baptist,  Catharine,  and  Rosa,  a  richly-coloured  picture  with  beau- 
tiful landscape.  Cima  da  Conegliano,  *611.  Christ  with  SS.  Magnus 
and  Thomas,  623.  St.  Christopher,  *592.  Tobias  and  the  angel, 
with  SS.  Nirhnlas  of  Bari  and  James,  603.  Madonna  with  John  the 
Baptist  and  St.  Paul,  604.  Entombment.  —  602.  Giov.  Buonconsiglio 
(Marescalco),  SS.  Benedict,  Cosmas,  and  Thecla,  a  fragment  of  a 
large  altar-piece.  —  In  the  centre,  Daedalus  and  Icarus,  the  work 
of  Canova  when  21  years  of  age.  —  Behind  is  — 

Room  XVIII,  containing  a  series  of  admirable  works  by  Oiovanni 
Bellini:  to  the  left:  612.  Madonna,  583.  Madonna  (an  early  work), 
*595.  Allegorical  paintings  from  the  artist  s  later  period,  some  with 
delightful  landscapes,  *613.  Madonna,  Mary  Magdalen,  and  St.  Catha- 
rine ('the  three  women  are  characterised  by  an  extraordinary  union 
of  dignity,  earnestness,  and  beauty'.  C.  §■  C),  *596.  Madonna  of 
the  Two  Trees  (1487;  injured),  *610.  Madonna  with  SS.  Paul  and 
George  (after  1483),  87.  Christ,  fragment  of  a  Transfiguration,  591. 
Madonna  (retouched);  *594.  Madonna  in  a  beautiful  landscape.  Also, 
582.  Jacopo  Bellini,  Madonna.  —  We  return  to  R.  XVII.  and  thence 
enter  — 

Room  XIX  (16th  cent).  1st  Section,  95.  Seb.  del  PJ07ri6o  (?), 
Visitation  (an  early  work:  retouched).  Also,  Al.  Vittoria,  Busts  of 
Domenico  and  Francesco  Duodo;  Lor.  Bernini,  Bust  of  Card.  Sci- 
pione  Borghese  (1633).  —  2nd  Sec,  Morelto,  331.  St.  Peter,  332. 
John  the  Baptist;  305.  Pordenone,  Portrait;  *314.  Titian,  John  the 
Baptist  in  the  Wilderness  (a  late  work);  245.  Titian  (more  pro- 


b.  Academy.  VENICE.  47.  Route.   313 

bably  Jac.  Tintoretto  f) ,  Portrait  of  Jac.  Soranzo;  Jac.  Tintoretto, 
234.  Procurator  Andrea  Cappello,  233.  Doge  Alvise  Mocenigo.  — 
We  return  through  the  Vestibule  (p.  312)  and  descend  the  stairs  to 
the  left  to  — 

Room  XX  ,  with  carved  wooden  ceiling  decorations  of  the  15th 
century. 

On  the  exit-wall,  *626.  Titian,  Presentation  in  the  Temple, 
painted  in  1539  for  this  room,  then  the  Sala  dell'  Albergo  of  the 
Brotherhood  della  Caritk  (damaged). 

'It  was  in  the  nature  of  Titian  to  represent  a  subject  like  this  as 
a  domestic  pageant  of  his  own  time,  and  seen  in  this  light  it  is  ex- 
ceedingly touching  and  surprisingly  beautiful.  JIary  in  a  dress  of  celesti- 
al blue  ascends  the  steps  of  the  temple  in  a  halo  of  radiance.  She  pauses 
on  the  first  landing  place,  and  gathers  her  skirts,  to  ascend  to  the  sec- 
ond. .  .  .  Uniting  the  majestic  lines  of  a  composition  perfect  in  the  bal- 
ance of  its  masses  with  an  effect  unsurpassed  in  its  contrasts  of  light 
and  shade,  the  genius  of  the  master  has  laid  the  scene  in  palatial  archi- 
tecture of  grand  simplicity.  .  .  .  The  harmony  of  the  colours  is  so  true 
and  ringing,  and  the  chords  are  so  subtle,  that  the  eye  takes  in  the  scene 
as  if  it  were  one  of  natural  richness,  unconscious  of  the  means  by  which 
that  richness  is  attained.  ...  In  this  gorgeous  yet  masculine  and  robust 
realism  Titian  shows  his  great  originality,  and  claims  to  be  the  noblest 
representative  of  the  Venetian  school  of  colour'.  —  C.  <t  C. 

Also,  15.  Jacobello  del  Fiore,  Allegory  of  Justice  (1421);  *626. 
Ant.  Vicarini  and  Gioi\  Alemanno.  Madonna  enthroned,  with  angels 
and  the  four  Fathers  of  the  Church  (1446),  a  masterpiece  of  the 
early  Tenetian  school  and  also  interesting  on  account  of  the  peculiar 
architecture.- 

Adjoining  the  Academy  on  the  left  is  the  Reale  Istituto  di 
Belle  Arti.  To  the  left  of  the  first  court  is  a  second,  with  the 
inner  *Fa^ade  of  Palladio's  unfinished  Convent  of  Caritcl  (1561), 
enthusiastically  described  by  Goethe. 

From  the  Campo  della  Carita  to  the  church  oi  Santa  Maria  della 
Salute  see  p,  339. 

c.  Canal  Grande. 
The  ** Grand  Canal,  or  Canalazzo,  the  main  artery  of  the  traffic 
of  Venice,  fully  2  M.  in  length,  with  an  average  width  of  77  yds. 
and  a  depth  of  17  ft.,  intersects  the  city  from  N.W.  to  S.E.,  and 
resembles  an  inverted  S  in  shape.  It  is  crossed  by  three  bridges, 
the  Ponte  di  Ferro  (PI.  E,  6),  the  Fonte  di  Rialto  (PI.  G,  4),  and 
the  Fonte  alia  Stazione  (PI.  D,  3),  while  small  steamers  and  hun- 
dreds of  gondolas  and  other  craft  are  seen  gliding  in  every  direction. 
Handsome  houses  and  magnificent  palaces  rise  on  the  banks,  for 
this  is  the  street  of  the  Nobili,  the  ancient  aristocracy  of  Venice. 
A  trip  on  the  canal  is  extremely  interesting ;  1  hr.  at  least  should 
be  devoted  to  it  in  order  to  obtain  a  glimpse  of  the  principal  palaces. 
The  gondolier  points  out  the  chief  edifices;  comp.  also  the  Album 
by  Ongania  (1  fr. ;  p.  286).  The  posts  (pali)  display  the  heraldic 
colours  of  their  owners.    The  following  list  begins  at  the  Piazzetta, 


314   Route  47. 


VENICE. 


c.  Canal  Grande. 


Left. 


Punta  della  Salute  andDogana 
di  Mare  (PI.  G,  6),  the  principal 
custom-liouse ,  erected  by  6ius. 
Benoni  in  1676-82;  the  vane  on 
the  tower  is  a  gilded  Fortuna.  — 
A  little  hack,  the  Seminario  Pa- 
triarcale  (p.  340). 


Santa  Maria  della  Salute  (Pi. 
F,  G,  6),  see  p.  339. 

Abbazia  San  Oregorio  (Gothic; 
14-15th  cent.),  witli  tasteful 
cloisters. 

Palazzo  Oenovese  (modern  Go- 
thic; 1892). 

Palazzo  Volkoff  (Gothic). 


Pal.  Dario,  in  the  style  of  the 
Lombard!  (ca.  1480)  ;  under  re- 
storation since  1905. 

Pal.  Venier,  consisting  simply 
of  the  groundfloor  of  a  building 
planned  on  a  scale  of  great  mag- 
nificence ,  by  Giorgio  Massari 
(18th  cent.);  with  garden. 

Pal.  Morosini-  Rombo,  formerly 
Da  Mula  (Gothic;  15th  cent.). 


Right. 

Zecca  (PI.  H,  6),  see  p.  298 ; 
farther  on,  beyond  the  Giardino 
Reale ,  is  the  steamboat-station 
-S.  Marco  (PL  G,  6 ;  see  p.  284). 

Palazzo  Giustiniani ,  now  Ho- 
tel Europa  (PI.  b;  G,  6),  in  the 
pointed  style  of  the  15th  century. 
Chateaubriand,  George  Eliot,  and 
Y/agner  are  among  the  names  con- 
nected with  this  palace. 

Pal.  Treves  (formerly  Barozzi- 
Emo'),  ascribed  to  Longhena 
(1680).  It  contains  Hector  and 
Ajax,   Canova's  last   works    (fee 

72  ft.). 

Pal.  Tiepolo,  now  Hotel  Bri- 
tannia (PI.  c ;  G,  6). 

Pal.  Contarini,  I5th  century. 


*Pal.  Contarini-Fasarh,  Gothic 
(14th  cent.),  the  so-called  'House 
of  Desdemona.' 

Pal.  Ferro  (15th  cent.) ,  now 
the  Grand  Hotel  (PI.  o ;  F,  6). 

Pal.  Fini  (1688),  now  united 
with  the  Grand  Hotel. 


Steamboat-station  Santa  Maria 
del  Giglio  (PI.  F,  B),  see  p.  284. 

Pal.  Gritti,  Gothic  (14th  cent.). 

*Pal.  Corner  della  C^  Grande, 
built  by  Jac.  Sansovino  in  1532, 
with  spacious  court,  now  seat  of 
the  Prefecture  and  the  Consiglio 
Provincial  e. 

The  hall^of  the  Provincial  Coun- 
cil is  adorned  with  ceiling-paintings 
(Triumph  of  Venice,  etc.)  and  a  friezes 
140  ft.  long  (Procession  of  the  Doge, 


c.  Canal  Grande. 


VENICE. 


47.  Route.    315 


Left. 


Pal.  Loredan  (I7tli  cent.),  re- 
sidence of  Don  Carlos. 

Pal.  Balbi-Valier  (18th  cent.). 

Pal.  Manzoni-Angaran,  in  the 

style  of  the  Lombardi  (1 5th  cent.). 

Steamhoat-station    Accademia 
(PI.  E,  6),  see  p.  284. 


Right. 
in  the  Piazza  di  San  Marco),  by  Oiut. 
Vizzotto-Alberli  and   Vine.  De'  Stefani 
(1897). 

Pal.  Curtis  (formerly  Barbaro\ 
in  the  pointed  style  of  the  14th 
century. 

Pal.  Franchetti  (formerly  Ca- 
vallf),  in  the  pointed  style  of  the 
15th  cent,  (restored),  with  line 
windows  and  a  handsome  new 
staircase  hy  Camillo  Boito. 

Church  of  San  Viiale  (p.  307). 


Ponte  di  Ferro  or  Ponte  delV Accademia  (PI.  E,  6;  p.  307),  con- 
structed in  1854,  hetween  the  Campo  della  Carith  and  the  Campo 
San  Vitale. 

Accademia   di  Belle  Arti,    see 
p.  307. 

Palazzi  Contarini  degli  Scrig- 
Tii,  one  by  Scamozzi  (1609),  in  the 
late-Renaissance  style,  the  other 
Gothic  (15th  cent.) 


Pal.  Loredan  or  dell'  Ambas- 
ciatore,  loth  cent.  (German  em- 
bassy in  the  18th  cent. ;  restored 
in  1900),  with  two  statues  on  the 
facade  ascribed  to  Pietro  Lom- 
bardi. 

*PaI.  Rezzomco  (PI.  E.  6),  built 
by  Bald.  Longhena  (1680),  with 
a  top  story  by  G.  Massari  (1745). 
This  is  the  house  in  which  Robert 
Browning  died  in  1889;  memorial 
tablet,  erected  by  the  Venetian 
Municipality,  on  the  wall  facing 
the  side-canal.  It  contains  cele- 
brated ceiling-paintings  by  Lucn 
Giordano  and  G.  B.  Tiepolo  (no 
adm.). 

Two  Palazzi  Giustiniani,  in  the 
Gothic  style  (15th  cent.).  In  the 
first  of  these  Mr.  Howells  wrote 
his  'Venetian  Life' ;  in  the  second 
(now  Pal.  Sernagiotto)    Richard 


Pal.  Levi  (formerly  Giusti- 
niani-Lolin),  of  the  17th  century. 

Pal.  Falter  (Gothic;  15th  cent.), 
occupied  for  some  time  by  Mr. 
W.  D.  HoweUs. 

C(3  (i.e.  Casa)  del  Duca  Sforsa, 
a  plain  house  on  the  grand  foun- 
dations of  a  palace  begun  for 
Francesco  Sforza,  Duke  of  Milan, 
but  left  unflnished  hy  order  of 
the  Republic. 

Pal.  Malipiero,  rebuilt  in  the 
17th  century. 


Campo  San  Samuele ,  with  a 
church  of  that  name. 

Pal.  Sina  (formerly  Grassi),  by 
G.  Massari  (1705-45),  restored  by 
the  late  Baron  Sina.  Frescoes  (car- 
nival-scenes) on  the  staircase  by 
P.  Longhi. 


316  Routed?. 


VENICE. 


«.  Canal  Orande. 


Left. 
Wagner  wrote  the  second  act  of 
'Tristan  and  Isolde'. 

*Pal.  Foscari  (called  Pal.  Oius- 
tiniani  before  the  addition  of 
the  upper  story  by  Doge  Fran- 
cesco Foscari},  pointed  style  of 
15th  cent,  (restored  in  1867),  sit- 
uated at  the  point  where  the  Canal 
turns  to  the  E.,  containing  the 
Scuola  Superiore  di  Commercio. 

Pal.  Balbi,  late-Renaissance, 
by  Aless.  Vittoria  (1582-90). 

Pal.  Orimani  (a  San  TomH), 
late-Renaissance. 

Steamboat -station  San  Tomh 
(PI.  E,  5)  ;  see  p.  284. 

Pal.  Persico,  in  the  style  of  the 
Lombardi  (16th  cent.). 

Ooldoni  (1707  93),  the  writer  of 
Italian  comedies,  was  born  in  the  in- 
teresting Gothic  ho  use  (good  staircase) 
behind  this,  at  the  corner  of  Ponte 
8.  Toma  (bust  and  inscription). 

Pal.  Tiepolo-Valier  (15-16th 
cent.). 

*Pal.  Fisani  a  San  Polo,  in  the 
pointed  style  of  the  15th  century. 

Pal.  Barbarigo  della  Terratza, 
by  Bern.  Contino  (1568). 

Pal.  Cappello-Layard,  at  the 
corner  of  the  side-canal  Rio  di 
S.  Polo,  the  residence  of  Lady 
Layard. 

It  contains  an  interesting  collec- 
tion of  pictures,  including  specimens 
of  Ercole  Grondi,  Savoldo,  Cosimo 
Tura,  Moretto,  Boccaccino,  Giov.  Bel- 
lini, Carpaccio,  Bnon3ignori,G.  David, 
Cima  da  Conegliano,  Gentile  Bellini 
(portrait  of  Sultan  Mahomet  II. ;  Ador- 
ation of  the  Magi),  and  others  (adm. 
on  special  introduction  only). 

Pal.  Orimani- Gmstiniani,  in 
the  style  of  the  Lombardi  (16th 
cent.). 

Pal.  Bernardo,  Gothic  (15th 
cent.),  now  a  mosaic  factory. 

Pal.  Dona,  Romanesque  (12th 
cent.). 


Right. 


Pal.  Moro-Lin  (PI.  E,  5;  now 
Pascolato^,  a  late -Renaissance 
edifice  by  Seb.Mazzoni  of  Florence 
(i6tb  cent.). 

Pal.  Contarini  delle  Figure, 
early-Renaissance  (1504),  with 
trophies  on  the  walls. 


Pal.Mocenigo,  three  contiguous 
palaces,  that  in  the  centre  occu- 
pied by  Lord  Byron  in  1818.  The 
second  and  third  of  these  palaces 
date  from  1580. 

Pal.  Qarzoni  (Gothic;  15th 
cent.). 


Steamboat-station  <St/nf'  Angela 
(PI.  F,  5),  see  p.  284. 

*Pal.  Corner  Spinelli,  early- 
Renaissance  by  Moro  Coducci,  in 
the  style  of  the  Lombardi. 


Pal.  Cosianao  (formerly  Caval- 
li),  Gothic  style  of  15th  century. 


c.  Canal  Orande. 


VENICE. 


47.  Route.    317 


Left. 
Pal.  Papadopoli,  formerly 
Tiepolo,  a  Renaissance  edifice  of 
the  16th  cent.,  rebuilt  in  1874 
et  seq.  and  sumptuously  fitted  up 
in  the  styles  of  the  16-18th  cent- 
uries. Adm.  only  on  special  re- 
commendation. 

Pitl.    Businello ,    Romanesque 
(l^th   cent.  ?)  ,    freely    restored. 


Steamboat-station  San.  Sil- 
vestro  (PI.  F,  5,  4),  see  p.  284. 

The  next  two  houses  occupy 
the  site  of  the  palazzo  inhabited 
by  the  patriarchs  of  Grade  (p.  353) 
in  the  12-1 5th  centuries. 


The  Ponte  di  Rialto  {i.e. 


Right. 

*Pal.  Grimani ,  Renaissance, 
chef  d'ceuvre  of  Michele  Sanmi- 
cheli,  middle  of  16th  cent. ,  now 
the  Reale  Corte  d'Appello;  'the 
principal  type  in  Venice,  and  one 
of  the  best  in  Europe,  of  the  cen- 
tral architecture  of  the  Renais- 
sance schools'  (Ruskin). 

*Pal.  Farsetti  (originally  Dan- 
dolo),  Romanesque  style  of  12th 
cent.,  now  occupied  (like  the  fol- 
lowing) by  the  municipal  offices 
(Municipio). 

*Pal.  Loredan,  coeval  with  the 
last,  the  residence  in  1363  and 
1366  of  King  Peter  Lusignan  of 
Cyprus,  whose  armorial  bearings 
are  seen  on  different  parts  of  the 
edifice. 

'This  palace,  though  not  conspi- 
cuous,   will  be  felt  at  last,  by 

all  who  examine  it  carefully,  to  be 
the  most  beautiful  palace  in  the 
whole  extent  of  the  Grand  Canar, 
—  Ruskin. 

Pal.  Dandolo ,  early-Gothic, 
said  to  occupy  the  site  of  the  re- 
sidence of  the  celebrated  Doge 
Enrico  Dandolo  (.p.  289 ;  small 
caf^  on  the  groundfloor^. 

Pal.  Bembo ,  pointed  style  of 
15th  century. 

Steamboat-station  Carbon  (PI. 
G,  4),  see  p.  284. 

Pal.  Manin,  with  facade  by 
Sansovino ,  16th  cent.,  belong- 
ed to  the  last  Doge  Lod.  Manin 
(p.  290 ) ;  now  Banea  d' Italia. 

Steamboat-station  Rialto  (PI. 
G,  4),  see  p.  284. 

'di  rivo  alto' ;  PI.  G,  4), 


built  in  1588-U2  by  Giovanni  da  Ponte  on  the  site  of  an  earlier 
wooden  bridge,  is  1 57  ft.  long  and  72  ft.  wide,  and  consists  of  a  single 
marble  arch  of  90  ft.  span  and  25  ft.  in  height,  resting  on  240 
piles.  It  is  situated  midway  between  the  Dogana  di  Mare  and  the 
railway-station,  and  down  to  1854  was  the  sole  connecting  link  be- 
tween the  E.  and  W,  quarters  of  Venice.    The  bridge  is  flanked  by 


318  Route  47. 


VENICE. 


e.  Canal  Grande. 


shops.  —  Description  of  the  quarter  near  the  Ponte  Rialto,  see 
pp.  321-24  and  p.  330.  The  Rialto  or  Rivoalto  was  the  site  of 
the  ancient  city  of  Venice  (comp.  pp.  242,  243,  and  chap.  ii.  of 
H.  F.  Brown's  history),  and  it  is  the  district  (not  the  bridge)  that 
Shylock  speaks  of  in  'The  Merchant  of  Venice'. 


Left. 

Pal.  de'  Camerlenghi,  early- 
Renaissance,  attributed  to  Gug- 
lielmo  Bergamasco  (1525),  once 
the  residence  of  the  chamberlains 
or  treasurers  of  the  Republic. 

Fabbriche  Vecchie  di  Rialto,  by 
Scarpagnino  (1520).  —  Adjoining 
is  the  Erberia  or  vegetable  mar-' 
ket (p.  330). 

Fabbriche  Nuove,  by  Jac.  San- 
sovino  (1555),  restored  in  1860, 
and  now  accommodating  the  Reale 
Corte  d' Assise. 


Pescheria  (PI.  F,  4) ,  the  in- 
teresting fish -market,  an  ugly 
iron  structure,  now  being  super- 
seded by  a  new  Gothic  edifice,  by 
Ces.  Laureuti  and  Rupolo.  Behind 
it  are  the  remains  of  the  Gothic 
Pal.  Querini  (13th  cent.). 

Pal.  Morosini  (now  Valeni')^ 
Gothic  (14th  cent.). 


Pal.  Corner  della  Regina  (Pi. 
F,  3),  erected  by  Dom.  Rossi  in 


Right. 

Fondaco  de'  TedescM,  a  Ger- 
man warehouse  from  thel2th  cent, 
onwards,  now  the  General  Post 
Office.  After  a  fire  in  1505  it  was 
re-erected  by  the  state  from  a 
design  by  Girolamo  Tedesco  and 
again  let  to  the  Germans.  The  ex- 
terior and  the  turrets  (removed) 
were  decorated  with  frescoes  by 
Giorgione  and  Titian,  completed 
in  1508,  of  which  only  slight 
vestiges  remain. 

Pal.Civran,  byG.Massari  (1701). 

Corte  del  Remer,  13th  century. 

Ca  da  Mosto,  12th  cent.  (?). 

Pal.  Mangilli- Valmar ana, huHt 
by  A.  Visentini  (1760). 

Pal.  Michiel  del  Brush,  orig- 
inally Gothic. 


Pal.    Michiel    dalle    Colonne 

(PL  F,  G,  3),  originally  Grimani, 
now  Bond,  dalle  Rose,  Gothic,  but 
rebuilt  in  the  17th  century. 

On  the  first  floor  are  'Flemish 
Tapestries,  of  which  ten  (16th  cent.) 
illustrate  the  history  of  Scipio  (from 
cartoons  by  M.  Coxiel)  and  four  hJhre 
scenes  of  child -life,  by  a  pupil  of 
Rubens  (17th  cent.).  In  the  Salone, 
iifor««o,  Equestrian  portrait;  12  paint- 
ings by  Pieiro  Longhi;  porcelain  and 
majolica.  In  an  antechamber  is  a 
ceiling -painting  by  O.  B.  Tiepolo, 
who  also  painted  the  beautiful  coats 
of  arms  in  the  gallery.  —  Entr.  from 
the  Corso  Vitt.  Emanuele  (p.  322) 
through  the  short  Calle  del  Duca. 

Pal.  Sagredo,  pointed  style  of 
14th  century. 

*C^  Doro  (Pl.F,  3 ;  p.  290),  the 
most  elegant  of  the  palaces  in  the 


c.  Canal  Grande. 


VENICE. 


^7.  Bouit.    319 


Left. 
1724,  on  the  site  of  the  house  in 
which  Catharine  Cornaro,  Queen 
of  Cyprus  (p.  289),  was  born; 
now  the  'Monte  diPietk'  or  pawn- 
oflice. 

*Pal.  Pesaro  [VL  F,  3),  late- 
llenaissance,  by  Lone/ /jena  (1679), 
but  not  finished  until  1710,  now 
belongs  to  the  city  and  contains 
the  Galleria  Inter nazionale  (TArte 
Moderna  (p.  331). 

Oharch  oi  Sant'  Eustachio(^San- 
to  StaF),  built  by  Giov.  Grassi 
in  1678,  with  rich  baroque  facade 
by  Dom.  llossi  (1709). 

Pal.  Tron,  16th  century. 

Pal.  Battaglia ,  by  Longhena 
(1668).  —  Adjacent  is  the  Antico 
Granaio,  or  former  granary  of  the 
republic. 


Fondaco  de'  Turchi  (PI.  E,  3), 
in  the  Romanesque  style  of  the 
11th  cent.,  once  (after  1621)  a 
Turkish  depot,  entirely  restored 
of  late  and  fitted  up  for  the 
Museo  Civico  (p.  332). 

Steamboat-station  Museo  Civico 
(see  p.  284). 

Ca$a  Correr,  now  part  of  the 
Museo  Civico. 


Right, 
Gothic  style,  was  built  by  Matteo 
Raverti,  Giov.  and  Bart.  Buon, 
and  others  in  1424-36;  interior 
lately  restored  by  Barou  Fran- 
chetti.  The  popular  reading  of 
the  name  (Ch  d'Oro)  is  alleged  to 
be  based  on  the  original  gilding 
of  the  ornamentation  of  the  facade. 
Steamboat-station  (p.  284). 

Pal.  Fontana,  late-Renaissance 
(16th  cent.).  Here  Pope  Cle- 
ment Xlll.  (1758-69;  Carlo  Rez- 
zonico)  was  born. 

Pal.  Grirnani  delta  Vida  (for- 
merly Gussoni),  16th  cent.,  in 
the  style  of  Sanmicheli. 

Pal.  Erizzo ,  pointed  style  of 
15th  century. 

*Pal.  Veudramin  Calergi  (PI. 
E,  3),  built  in  the  early-Renais- 
sance style,  about  1509,  by  Moro 
Coducci  (?),  one  of  the  finest  pa- 
laces in  Venice,  is  the  property 
of  Prince  Henry  of  Bourbon, 
Count  of  Bardi. 

Motto  on  the  exterior,  hion  nobis, 
Doinine,  non  ndbW.  The  interior 
(shown  by  ticket  obtained  at  Carrer's 
antiquarian  shop,  next  Santo  Stae's) 
contains  paintings  (frieze  by  Palma 
Giovane,  Triumph  of  Csesar)  and  a 
large  collection  of  Chinese  and  Ja- 
panese porcelain.  —  Richard  Wagner, 
the  composer,  died  in  this  house  in 
1883  (comp.  Gabr.  d'Annunzio's  novel 
'II  Fuoco'). 

Church  oi  Santa  Marcuola  (pro- 
perly Santi  Ermagora  e  Fortu- 
nato) ,  with  unfinished  facade, 
built  by  G.  Massari  (1728-36). 
In  the  interior  is  an  early  work 
by  Titian:  The  boy  Christ  between 
SS.  Andrew  and  Catharine  (to  the 
left  of  the  S.  entrance);  also  a  Last 
Supper  by'  Jac.   Tintoretto  (1547). 

Farther  on,  beyond  the  Canna- 
regio  (see  p.  320),  the  church  of 
San  Geremia  (PI.  D,  E,  3),  dating 
from    1753   (steamboat -station, 


320   Routed?. 


VENICE. 


«.  Canal  Orande. 


Pal.  Nigra,  by  G.  Sar.li  (1904), 
•with  terrace. 


Left.  Right. 

see  p.  284).  Behind  are  the  Pal. 
Labia  and  the  Ghetto  Vecchio 
(see  below). 

Pal.  Flanyini  (now  Clery\  late- 
Renaissance  (unfinished),  per- 
haps by  Lougheua(?). 

*CMesa  degli  Scalzi  (PI.  D,  3 : 
steamboat-station,  see  p.  284), 
the  former  church  of  the  bare- 
footed friars,  begun  in  1649  by 
Longhena,  with  a  fine  facade 
added  by  Oiua.  Sardi  in  1683-89, 
is  perhaps  the  most  imposing 
specimen  of  the  Venetian  baroque 
style.  It  was  much  damaged  by 
the  bombardment  of  1849,  but  was 
restored  in  1853-62. 

The  ceiling  is  decorated  with  a 
large  fresco  by  Tiepolo,  representing 
the  miraculous  removal  of  the  house 
of  the  Virgin  to  Loreto.  The  high- 
altar,  by  Otus.  Pozzo,  with  its  eight 
twisted  columns,  ia  a  characteristic 
example  of  the  architectonic  perver- 
sities of  the  age  of  its  construction. 

Adjoining  the  Scalzi  is  the  Ponte  alia  Stazione  (PI.  D,  3),  or 
station-bridge,  completed  in  1858. 


San  Simeone  Piccolo  (PI.  D,  3, 
4),  rebuilt  in  1718-38  by  Scal- 
farotto,  is  an  imitation  of  the 
Pantheon  at  Rome. 


Stazione  delta  Strada  Ferrata 
(Rail.  Station),  see  p.  281. 

Steamboat-station  Santa  Lucia 
(PI  D,  4),  see  p.  284. 

To  the  left,  near  the  point  where  the  Canal  turns  to  the  N.W., 
is  the  well-kept  Oiardino  Papadopoli  (PI.  C,  D,  4;  permesso  at 
the  Pal.  Papadopoli,  p.  317).  Farther  on  is  the  last  steamboat 
station,  Santa  Chiara  (PI.  C,  4;  see  p.  284). 


In  the  Cannaregio,  which  diverges  from  the  Canal  Grande  at 
San  Geremia,  rises,  on  the  left,  the  Palazzo  Labia  (PI.  D,  E,  3; 
adm.  1  fr.),  a  handsome  but  neglected  edifice  by  Andr.  Cominelli 
(1720-50),  with  *Frescoe8  by  Tiepolo  in  the  principal  hall  on  the 
first  floor  (^Antony  and  Cleopatra).  —  Following  the  Cannaregio 
farther,  we  reach  — 

*San  Giobbe  (PI.  C,  2;  open  till  noon),  an  early-Renaissance 
church  begun  in  1451  and  finished  after  1471  by  Ant.  Gamhello 
and  Pietro  Lombardi.    It  has  a  fine  portal. 

Left  Aislb.  The  second  chapel,  built  by  a  Florentine  (perhaps  Franc, 
di  Simone),    has   a   handsome   marble    altar   and   a   ceiling   adorned  with 


d.  Mercena.  VENICF.  47.  Route.    321 

glazeil  terracotta  reliefs  of  the  Evangelists,  from  tbe  workshop  of  Luca 
della  Robbia.  —  Right  Aisle.  Over  tbe  tliirfl  ultnr,  Paris  Bprdone,  SS. 
Andrew,  Anthony,  and  Nicholas.  —  In  the  Choir  nnd  in  the  recess  to  the 
left  are  charming  "Ornamentation  and  Relief.-)  liy  Pieiro  Lombardi;  on  the 
tloor,  tlie  tombstone  of  Doge.  Crisloforo  Aforo  (d.  1471),  founder  of  the  church. 
—  In  the  chapel  to  the  right  of  the  choir  is  an  Adoration  of  the  Shepherds, 
by  Savoldo.  —  In  the  adjacent  SacuistT:  Andr.  Prenitali,  Marriage  of  St. 
Catharine,  in  a  line  old  frame;  O'iov.  Bellini,  Pieta  (early  work);  terra- 
cotta bust  of  St.  Bernard  (!5th  cent.). 

Nearly  opposite  the  church  is  the  Protestant  House  for  Boys 
(p.  287).  —  The  house  No.  968  Fondamenta  dclle  Penitents  (PI.  C,2) 
was  occupied  by  J.  J.  Rousseau  in  1743-44. 

To  the  N.E.  of  the  Cannareggio  is  the  Ghetto  Vecchio  (PI.  D, 
E,  2),  with  its  high,  many-storied  houses,  long  the  quarter  of  the 
Jews,  who  were  originally  settled  in  the  Giudecca.  The  Tempio 
Israelitico  Spagjiuolo  (PI.  E,  2),  or  synagogue  of  the  Spanish  Jews 
(p.  289),  was  rebuilt  by  Longhena  in  1655. 

Passing  to  the  N.E.  of  the  Ghetto  Vecchio  we  reach  the  Ghetto  Nuovo 
and  cross  the  bridge  of  that  name  to  the  Fondamenta  Ormesini ,  a  few 
yards  beyond  wbich  we  turn  to  the  left  through  the  Calle  della  Malvasia 
and  the  Caile  del  Capitello  to  the  aisleles?  church  of  Sant'  Alvise  (PI.  E,  1 ; 
open  till  9.80  a.m.).  The  choir  contains  a  line  colossal  picture  of  the 
Bearing  of  the  Cross,  by  Tiepolo ,  and  two  smaller  works  by  the  same 
master.    Scourging  of  Christ,    and  Christ    receiving  the  Crown  of  Thorns. 

d.  From  the  Piazza  of  St.  Mark  to  the  Bialto  Bridge  and  the 
Northern  Quarters. 

The  Merceria  ^^Pl.  G,  5),  which  enters  the  Piazza  of  St.  Mark 
under  the  clock-tower  (p.  297),  is  the  principal  business-street  of 
Venice  ,  containing  attractive  shops.  It  leads  direct  to  the  Rialto 
Bridge.    The  second  short  street  to  the  right  ends  at  — 

San  Giuliano  {^San  Zuliari' ;  PI.  G,  5),  erected  by  Sansovino 
in  1554.  Over  the  portal  is  the  bronze  statue  of  the  founder,  the 
jurist  Thomas  of  Ravenna,  in  a  sitting  posture,  by  the  same  master. 

Interior.  1st  Altar  to  the  left:  Boccaccio  Boccaccino,  Madonna  enthroned 
and  four  saints.  Chapel  to  the  left  of  the  high-altar:  Givolamo  C<impagna''s 
Dying  Christ  supported  by  angels,  a  relief  in  marble;  adjacent,  the  Virgin 
and  St.  John,  bronze  statues,  also  by  Campagna;  school  oi  Paolo  Veronese., 
Last  Supper.  —  Good  li^ht  necessary. 

Returning  to  the  Merceria,  we  soon  observe  the  lofty  choir  of 
S.  Salvatore  appearing  between  the  houses. 

*San  Salvatore  (PI.  0,  5;  comp.  p.  287),  erected  by  Gioryjo 
Spavento  and  TuUio  Lomhardo  in  1506-34  (baroque  facade  1663), 
is  surmounted  by  throe  flat  domes  resting  on  circular  vaulting, 
which  is  supported  in  turn  on  square  domeil  corner-spaces.  Burck- 
hardt  styles  it  the  finest  modern  (;hnr(;h  in  Venice. 

KioiiT  Aisle.  On  the  2nd  altar:  Madonna  with  angels,  by  Campagna; 
adjacent,  Monument  of  Doge  Franc.  Venicr  (d.  1556),  with  a  fine  figure  of 
Hope(r.),  by  Sansovino.  Over  the  3rd  altar  ''Titian''s  Annunciation,  executed 
in  his  89th  year  (1566i,  in  which  'the  grandeur  attained  brings  the  painter 
as  near  to  Michaelangelo  in  conception  as  it  was  possible  for  Titian  to  come' 
(C.iiC);  tbe  frame  is  by  <Sansoiufto. — Right  Transept.  In  Ihe  middle  is 
the  monument  of  Catharine  Coruaro  (d.  1510),  t^ueen  of  Cyprus,  who  ab- 

Baedeker.   Italy  I.    13th  Edit.  21 


322   Route  47.  VENICE.  d.  From  St.  Mark  to 

dicated  in  1489  in  favour  of  Venice  (see  p.  289).  —  Choir.  Transfiguration, 
high-altar-piece  by  Titian,  painted  about  1560  (injured;  covered;  best  light 
at  midday);  the  chased  Bilver  altar -covering  with  numerous  figures  of 
saints,  etc.,  executed  about  1290,  is  seen  only  on  high  festivals.  —  Chapel 
on  the  left:  "Christ  at  Emmaus ,  perhaps  by  Oiov.  Bellini  (covered).  — 
Left  Aisle.  By  the  altar  to  the  right  of  the  organ,  statues  of  SS.  Rochus 
and  Sebastian,  by  Al.  Vittoria;  a  statue  of  St.  Jerome,  by  JJanese  Cattaneo. 
88.  Augustine  and  Theodore  on  the  wings  of  the  organ  are  by  franc. 
Vecelli.  Lofty  architectural  monument  of  the  doges  Girolamo  (d.  1567)  and 
Lorenzo  Priuli  (d.  1559),  with  gilded  recumbent  figures  of  the  brothers. 

The  Campanile  (adm.  20  c.;  ascent  from  the  right  transept  or  from 
the  sacristy)  all'ords  a  good  survey  of  the  town  though  far  inferior  to 
that  obtainable  from  the  tower  of  San  Giorgio  Maggiore  (p.  341). 

Then  to  the  right  (N.)  to  the  Campo  San  Bartolombo  (PI.  G,  4), 
in  which  a  hronze  statue,  modelled  by  Dal  Zotto,  was  erected  in 
1883  10  Carlo  Goldoni,  the  dramatist  (1707-93).  In  the  church  of 
San  Babtolomeo,  to  the  right  and  left  of  the  organ,  SS.  Sinibald 
and  Louis,  and  to  the  right  and  left  in  the  aisles,  SS.  Bartholomew 
and  Sebastian,  all  by  Sebastian  del  Piombo  (early  works,  under 
Giorgione's  influence).  —  The  street  to  the  E.  leads  past  the  church 
of  Sah  Lio  (PI.  G,  4 ;  over  the  first  altar  on  the  left  Titian's  St.  lago 
di  Compostella,  1565)  to  Santa  Maria  Formosa,  see  p.  325.  The 
Ponte  Kialto  lies  to  the  W.  of  the  Campo  S.  Bartolomeo  (p.  317). 

Wc  cross  the  piazza  in  a  straight  (N.)  direction,  pass  the  Fon- 
daco  de'  Tedeschi  (p.  318)  on  the  left,  and  reach,  on  the  right  — 

San  Giovanni  Crisostomo  (PI.  G,  4),  erected  in  the  early- 
Renaissance  style  after  1497  by  Mora  Coducci. 

Second  altar  on  the  left,  Coronation  of  the  Virgin,  and  the  Apostles, 
reliefs  by  Tullio  Lombardi.  First  altar  on  the  right,  Oiov.  Bellini,  'SS.  Jerome, 
Christopher,  and  Augustine  in  a  beautiful  mountainous  landscape  (his  last 
signed  work,  in  his  85th  year,  1513;  restored  in  1805):  'John  Bellini  is 
the  only  artist  who  appears  to  me  to  have  united,  in  equal  and  magnificent 
measures,  justness  of  drawing,  nobleness  of  colouring,  and  perfect  man- 
liness of  treatment,  with  the  purest  religious  feeling'  (Ruskin).  —  High-altar 
(good  light  at  midday),  Seb.  del  Piombo,  'St.  Chrysostom  with  SS.  Augustine, 
John  the  Baptist,  Liberale ,  Catharine,  Agnes,  and  Mary  Magdalen,  the 
master's  most  important  work  while  under  the  influence  of  Giorgione, 
painted  about  1508,  immediately  before  his  departure  for  Rome  (restored 
in  1805;  covered):  'there  is  much  to  characterise  Sebastian  in  the  ideal 
sensualism  and  consciously  attractive  bearing  which  distinguish  the  females 
on  the  left  foreground'  (C.  <&  C). 

Farther  on,  beyond  the  second  bridge,  is  the  church  of  the  Santi 
Apostoli  (PI.  G,  3),  rebuilt  in  1672,  but  including  the  Cappella 
Cornaro  (second  chapel  on  the  right),  which  belonged  to  the  earlier 
church,  erected  by  Gugl.  Bergamasco  about  1530.  It  contains  two 
monuments  of  the  Cornaro  family  and  a  beautiful  altar-piece  by 
Tiepolo,  Communion  of  St.  Lucia  (restored). 

Opposite  is  the  old  Scuola  delV  Angela  Custode  (PI.  G,  3,  4; 
German  Prot.  church),  with  a  facade  by  Aiidr.  Tirali  (1734). 

To  the  N.W.  of  the  Campo  SS.  Apostoli  runs  the  new  Coeso 
ViTTORio  Emanuelb  (PL  F,  G,  3),  the  broadest  street  in  Venice, 
by  which  we  may  proceed  past  the  church  of  San  Felice  and  the 
two  canals  of  the  same  name  to  the  — 


the  Ricdto.  VENICE.  47.  Route.   323 

Palazzo  Giovanelli  (PI.  F,  3 ;  No.  2292 ;  adm.  as  a  rule  only 
by  special  introduction),  of  the  loth  cent.,  bnt  completely  modern- 
ized, with  a  handsome  ball-room  (18th  cent.)  and  good  pictures : 
Bonifazio,  Marriage  of  St.  Catharine;  Paris  Bordone,  Madonna  and 
saints;  Giorgione,  *Landscape  with  figures  ('La  Famiglia  di  Gior- 
gione'),  one  of  the  master's  finest  creations,  second  only  to  the 
picture  at  Castelfranco  (p.  279);  Antonello  da  Messina,  Portrait; 
Rocco  Marconi,  The  woman  taken  in  adultery ;  Bacchiacca,  Mosea 
smiting  the  rock  (lid  of  a  chest). 

A  few  yards  farther  on  is  the  Campo  Santa Fosca  (PI.  F,  3),  with 
the  church  of  that  name  and  a  bronze  Statue  of  Fra  Paolo  Sarpi 
(1552-1G23),  the  historian  of  the  Council  of  Trent,  by  Marsili.  The 
monument,  which  is  close  to  the  bridge  where  Fra  Paolo  was  set 
upon  by  the  papal  assassins,  was  decreed  by  the  Republic  of  Venice 
in  1G23  and  erected  in  1892  (see  Dr.  Alex.  Rohertson'i  'Fra  Paolo 
Sarpi',  and  T.  A.  Trollope's  'Paul  the  Pope  and  Paul  the  Friar').  — 
Proceeding  to  the  right  from  this  point  and  crossing  two  bridges,  we 
reach  the  Campo  San  Marziale,  with  the  church  of  — 

San  Maeciliano  (PI.  F,  2;  open  till  10  a.m.),  which  contains  a 
*Tobias  and  the  Angel  by  Titian  (ca.  1540;  above  the  1st  altar  on 
the  left),  and  Tintoretto's  last  work,  St.  Marcilian  with  SS.  Peter 
and  Paul  (2nd  altar  to  the  right). 

The  more  remote  quarters  of  the  city  are  best  visited  by  gondola. 
From  the  broad  Sacca  della  Misericordia  (PI.  G,  2),  which  is  joined 
on  the  N.  by  the  Rio  San  Felice  (p.  322),  a  side-caiial,  named  the 
Rio  deUa  Madonna  dell'  Orto,  leads  to  the  left  to  the  church  of  the  — 

*Madonna  dell'  Orto  (PI.  F,  2),  also  called  San  Cristoforo 
Martire,  with  a  beautiful  late-Gnthic  facade  of  1460  and  a  curious 
tower  in  the  early-Renaissance  style.  Above  the  main  portal  are 
an  Annunciation  and  a  statue  of  St.  Christopher  by  Bart.  Buon  the 
Elder.  The  interior,  with  a  flat  wooden  ceiling  supported  by  ten 
columns  and  modern  painted  decorations ,  contains  many  good 
pictures. 

RiGUT,  Ist  altar:  Cima  da  Conegliano,  *St.  John  the  Baptist  with  SS. 
Peter,  Mark,  Jerome,  and  Paul,  an  early  work  (1489).  At  the  4th  altar: 
Daniel  van  Dyck.  Martyrdom  of  St.  Lawrence.  Above  the  entrance  of  the 
.sacristy,  a  sculptured  bust  of  the  Virgin  (15th  cent.).  In  the  Sacbistt: 
Virgin  and  Child,  half-figure  found  in  a  garden  (whence  the  name  of 
the  church),  and  restored  by  Andriolo  and  Giovanni  de  Sanctis.  —  Chapel 
OS  THE  Right  of  the  choir:  Memorial  tablet  to  Tintoretto  (d.  1594),  who 
is  buried  here.  —  In  the  Choir  (rightl  the  La.<!t  Judgment  (injured;  elo- 
quently described  and  explained  in  'Modern  Painters',  Vol.  2)  and  (left) 
Adoration  of  the  golden  calf,  large  works  by  Tintoretto.  Over  the  high- 
altar  an  Annunciation,  by  Palma  Oiovane:,  at  the  tildes,  Vision  of  .St.  Peter, 
and  Martyrdom  of  St.  Chri.'topher  ,  by  Tintoretto  (formerly  the  wings  of 
an  organ-case).  —  In  the  Left  Aisle,  the  Capp.  Contarini,  containing  busts 
of  six  members  of  the  celebrated  family  of  that  name;  among  them  those 
of  the  Cardinal  and  the  Procurator,  the  two  in  the  middle  on  the  left 
and  right  respectivelv,  by  Alessandro  Vittoria;  altar-piece  by  Tintoretto, 
JUracle  of  St.  Agnes ;  'Jnd  chapel :  (r.)  Tintoretto,  Presentation  in  the  Temple. 
4th  Chapel:   Oiov.  Bellini,  Madonna  (early, work;  freely  restored). 

21* 


324    Route  4  7.  VENICE.  f.  From  St.  Mark  to 

We  now  return  to  the  Rio  San  Felice  and  turn  to  the  S.E.  into 
the  Rio  di  S.  Caterina.  The  high-altar-piece  of  the  church  of  Santa 
Caterina  here  (Pl.G,  3;  if  closed,  entrance  to  the  right,  through  the 
Lyceum,  Convitto  Nazionale),  is  a  *Marriage  of  St.  Catharine,  by 
Paolo  Veronese,  a  masterpiece  and  in  admirable  preservation  (ca. 
1572).  At  the  end  of  the  right  aisle  is  a  Tobias  with  the  angel,  by 
Orazio  Vecelli,  the  son  of  Titian. 

We  proceed  to  the  E.  to  the  Ponte  dei  Gesuiti,  and  turning  to 
the  left  reach  the  church  of  — 

Santa  Maria  dei  Gesuiti  (PI.  G ,  H ,  3 ) ,  usually  known  as 
'/  6esuiti\  erected  in  1715-30  in  the  baroque  style  by  Dom.  Rossi 
{ facade  by  Oiov.  Fattoretto).  The  interior  is  entirely  lined  with 
marble  inlaid  with  verde  antico,  and  sumptuously  decorated  like  all 
the  churches  of  this  order. 

At  the  High  Altar  (by  Qius.  Pozzo)  are  ten  spiral  colamns  of  verde 
antico;  in  the  centre,  a  globe,  with  God  the  Father  and  the  Son.  The 
chapel  to  the  left  of  the  high -altar  contains  the  Monument  of  Doge 
Pasquale  Cicogna  (d.  1595),  with  the  recumbent  "Statue  of  the  deceased, 
by  Q.  Campngna ;  adjacent,  in  the  Sacristt,  over  the  door,  Presentation 
in  the  Temple,  by  Tintoretto.  Then,  in  the  Left  Transept,  the  Assumption, 
an  altar-piece  by  Tintoretto.  In  the  1st  chapel  on  the  left  of  the  principal 
door  is  the  Martyrdom  of  St.  Lawrence,  one  of  the  finest  of  the  altar- 
pieces  by  Titian  (1568),  who  'never  made  a  nearer  approach  to  the  grand 
art  of  the  Florentines  than  when  he  painted  this  piece,  in  which  he 
applied  the  principle  of  dramatic  execution  peculiar  to  Michaelangelo'. 
Unfortunately  it  is  darkened  by  age  (seen  best  about  noon). 

The  Oratorio  dei  Crociferi  (open  in  the  morning),  opposite  the 
church  of  the  Jesuits ,  contains  frescoes  by  Palma  Giovane  and 
others,  with  excellent  portraits  of  crusaders  (1584). 

We  may  return  from  this  point  either  along  the  Fondamenta 
Nuove  (PI.  G,  2;  view  of  San  Michele  and  Murano),  or  past  Santi 
Oiovanni  e  Paolo  to  the  Riva  degli  Schiavoni  (comp.  pp.  326-328), 
or  we  may  combine  this  trip  with  an  excursion  to  Murano  (steam- 
boat, see  p.  342). 

e.    From  the  Piazza  of  St.  Mark  to  Santi  Giovanni  e  Paolo,  and 
thence  to  the  Eiva  degli  Schiavoni.    Eastern  Quarters. 

From  the  Piazzetta  dei  Leoni  (p.  297),  on  the  N.  side  of  St.  Mark's, 
we  turn  to  the  E.  by  the  Calle  di  Canonica,  pass  round  the  Pal.  Patri- 
arcale  (p.  297)  on  the  right,  and  observe  opposite  us  the  Pal.  Trevisani 
(PL  H,  5 ),  or  Bianca  Cappello,  built  in  the  style  of  the  Lombard! 
about  1500,  and  now  occupied  by  the  Camera  di  Commercio  ed  Arti, 
or  Chamber  of  Commerce.  We  cross  the  Rio  di  Palazzo  (fine  view 
from  the  Ponte  di  Canonica  of  the  back  of  the  Palace  of  the  Doges 
and  of  the  Bridge  of  Sighs;  comp.  p.  305),  proceed  across  the 
Campo  Santi  Filippo  e  Giacomo  and  beyond  the  second  canal  reach 
the  Campo  di  San  Provolo.  Thence  we  pass  through  a  portal  with 
the  inscription  'S.  Zaccaria',  over  which  there  is  a  fine  relief,  in  the 


SS.  Giovanni  e  Paolo.        VENICE.  47.  Route.   325 

style  of  the  Massegne,  of  the  Madonna  between  John  the  Baptist 
and  St.  Mark.    This  leads  to  the  Campo  and  church  of  — 

San  Zaccaria  (PI.  H,  I,  5),  erected  in  1458-1515  in  the  transi- 
tion style  between  Gothic  and  Renaissance,  partly  by  Ant.  Gambello 
and  Moro  CoduccL  The  rounded  arcades  are  borne  by  six  Corinthian 
columns.  The  recess  of  the  high-altar,  the  ambulatory,  and  the 
radiating  chapels  are  Gothic.  The  facade  is  of  somewhat  later  date. 
Over  the  entrance,  the  statue  of  St.  Zacharias  by  Al.   Vittoria. 

The  walls  in  the  Nave  are  covered  with  large  pictures,  all,  except 
those  over  the  altars,  representing  events  in  the  history  of  the  church. 
To  the  left,  above  the  second  altar:  "Madonna  enthroned,  with  four  saints 
and  an  angel-musician  by  Oiov.  Bellini  (1505):  —  this  altar-piece  'takes 
us  with  a  spring  into  the  midst  of  the  Venetian  moderns.  .  .  .  There  is 
no  other  example  up  to  this  time  of  great  monumental  art  in  this  school; 
none  in  which  composition,  expression,  movement,  effect,  and  colour  are 
80  richly  combined  with  freedom  of  hand'  (C.  <&  C.).  The  work  is  un- 
fortunately somewhat  injured  and  is  seen  to  advantage  in  its  present 
position  only  before  10  a.m.  Farther  on  is  the  tombstone  of  Alessandru 
Vittoria  (d.  160SJ,  with  a  bust  by  the  master  himself,  ^qui  vivens  vivos 
duxit  e  marmore  vultiis\  —  The  third  arcade  on  the  right  leads  to  the 
CoKo  DELLB  MoNACHE  (choir  of  the  nuns),  with  inlaid  choir-stalls  by  Marco 
and  Francesco  Cozzi  (1455-6i)  and  a  Nativity  of  the  Baptist  by  Jac.  Tin- 
toretto (above  the  door).  —  In  the  Cappella  di  San  Tarasio  (to  the  right 
of  the  high-altar;  closed,  adm.  50c.)  are  three  gilded  altars  in  carved 
wood,  by  Ant.  Vivarini  and  Giov.  Alemaimo.  At  the  high-altar  is  a  Madonna 
and  saints  of  1444;  the  smaller  altars  to  the  right  and  left  are  adorned 
with  saints  of  1443. 

We  retrace  our  steps,  and  from  the  Campo  di  San  Provolo  take 
the  Calle  San  Provolo  to  the  right  (N."),  cross  the  Ponte  dei  Carmini 
(to  the  left),  follow  the  Calle  Corte  Rotta  and  the  Ruga  Giuffa  (on 
the  right  is  the  Gothic  Arco  Bon^,  and  thus  reach  the  larger  Campo 
Santa  Maria  Formosa,  in  which  is  situated  — 

Santa  Maria  Formosa  (PI.  H,  4),  a  church  of  early  origin,  but 
several  times  remodelled  (for  the  last  time  in  1699 ). 

Inteeioe.  1st  Altar  on  the  right:  Palma  Vecchio,  *'St.  Barbara  and 
four  other  saints,  with  a  Pieta  above,  in  the  best  and  grandest  form  of 
Palma's  art.  'St.  Barbara's  shape  is  grandiose  and  queenly.  The  glance,  the 
massive  hair,  the  diadem  and  vestments,  the  full  neck  and  throat,  are  all 
regal ;  and  the  whole  impersonation  scents  of  the  Giorgionesque  and  reveals 
the  16th  century.  It  is  the  very  counterpart  of  the  fine-chiselled  and 
voluptuous  fair  one  who  sits  so  gorgeously  in  her  red  dress  and  auburn 
locks  amongst  the  three  graces  of  the  I>resden  Museum'  (C.  <t  C).  — 
2nd  Altar:  Bart.  VivaHni,  Birth  of  Mary,  Mary  as  the  Mater  MisericordiD', 
and  SS.  Anna  and  Joachim  (1473).  S.  Transept:  L.  Basiano  (V),  Last  Supper. 
—  A  chapel,  to  which  a  staircase  ascends  (shown  by  the  sacristan),  con- 
tains JIadonnas  by  Sastoferrato  and  by  Pietro  da  Metsina  (a  signed  work 
of  this  rare  master). 

The  Palazzo  Mallpiero,  at  the  corner  of  the  Ruga  Giuffa,  on  the 
S.E.  side  of  the  Campo  S.  Maria  Formosa,  is  an  elegant  early  Re- 
naissance building  by  Sante  Lombardi  (after  1500).  —  A  few  paces 
to  the  E.,  beyond  the  Ponte  Ruga  Giuffa,  in  the  little  Campo 
Querini,  lies  the  — 

Pal.  Querini  (PI.  H,  4,  5),  which  has  belonged  to  the  town 
sinoe  1868.    On  the  second  floor  is  the  Fondazione  Querini-Slam- 


326   Route  47.  VENICE.  e.  From  St.  Mark  to 

palia  (adm.  see  p.  288),  containing  old  prints  and  engravings,  views 
of  the  town,  etc.,  and  some  good  pictures  (Fine.  Catena,  Judith; 
Savoldo ,  Last  Supper ;  ^Portraits  by  Palma  Vecchio  and  Tiepolo ; 
genre  pictures  by  Pietro  Longhi). 

Adjacent  is  the  Pal.  Grimani  (PI.  H,  4),  completed  in  the  high- 
Renaissance  style  by  Seb.  Serlio(l^  in  1539.  Little  remains  of  its 
once  famous  collection  of  antiquities.  A  room  on  the  first  floor  has 
charming  Raphaelesque  *CeiUng-decoration8  of  1539-40  by  Oiov. 
da  Udine  (p.  850). 

To  the  N.W.  of  the  church,  at  the  Ponte  del  Paradise  (the  second 
bridge  over  the  canal),  is  the  tasteful  Gothic  Porta  del  Paradise,  with  a 
relief  of  the  Virgin  and  worshipping  donor,  and  the  arms  of  Ihe  Foscari 
and  Mocenigo  (14th  cent.). 

We  leave  the  Campo  S.  Maria  Formosa  by  the  Calle  Lunga, 
turn  to  the  left  into  the  narrow  Calle  Kragadin  before  the  first  bridge, 
cross  the  Rio  San  Giovanni  in  Lalerano,  and  reach  the  Campo  Santi 
Giovanni  e  Paolo,  with  the  Dominican  church  of  that  name. 

In  the  centre  of  the  Campo  are  a  fine  Well  Head  and  the 
equestrian  **  Statue  of  Bartolomeo  Colleoni  (d.  1475;  buried  at 
Bergamo,  p.  211),  general  of  the  Republic,  modelled  in  1481  by 
Leonardo  da  Vinci's  teacher  Andr.  VeTrocchio  (d.  1488)  and  cast 
in  bronze  after  Verrocchio's  death  by  Aless.  Leopardi ,  who  also 
designed  the  lofty  marble  pedestal  (1493). 

'I  do  not  believe  there  is  a  more  glorious  work  of  sculpture  existing  in 
the  world  than  the  equestrian  statue  of  Bartolommeo  Colleoni'.  —  Ruskin. 

**Santi  Giovanni  e  Paolo  ('5.  Zanipdlo\-  PI.  H,  4;  comp.  p. 287), 
erected  in  1333-90,  is  a  very  spacious  and  magnificent  Italian- 
Gothic  domed  edifice,  supported  by  ten  columns.  The  facade  (1430) 
is  unfinished.  This  church,  next  to  St.  Mark's  the  most  imposing  at 
Venice,  contains  the  monumental  tombs  of  the  doges,  whose  funeral 
service  was  always  performed  here. 

Interior  (since  1804  in  course  of  restoration;  adm.  50c.).  To  the  left 
of  the  Main  Entuanck:  'JIausoleum  of  the  victorious  Doge  Pietro  iUocenigo 
(d.  147()),  with  fifteen  statues  by  tietro  Lombardi;  sarcophagus  ''ex  lioilium 
manuHit'  (from  the  spoils  of  his  enemies).  —  To  the  right,  Tomb  of  Duge 
Giov.  Mocenigo  (d.  1485),  by  TulHo  and  Ant.  Lombardi.  —  Over  the  entrance 
is  the  immense  monument  of  Doge  Luigi  Mocenigo  (d.  1577)  and  his  wife. 

Eight  Aisle.  By  the  1st  altar:  Bissolu,  Madonna  and  saints;  monument 
of  Marc'  Antonio  Bragadino  (d.  1571),  who  long  defended  Famagosta  in 
Cyprus  against  the  Turks,  and  after  its  surrender  was  barbarously  flayed 
alive,  as  the  picture  above  indicates.  —  2Dd  altar :  Altar-piece  in  six  sections 
by  Alvlse  Vivarini.  —  Farther  on,  beyond  the  large  chapel,  the  huge 
monument  of  Bertuccio,  Silvestro,  and  Elisabetta  Valier  with  their  statues, 
a  rich  baroque  work  in  marble,  with  sculptures  by  Baratla  and  other 
followers  of  Bernini  (ca.  1700).  The  door  on  the  left  below  it  leads  to  the 
street.  The  following  chapel  contains  six  reliefs  in  bronze  of  scenes 
from  the  life  of  St.  Dominic,  by  Oius.  Mazza  (1670)- 

Right  Teansbpt  (under  restoration).  On  the  right  wall,  Tomb  of 
General  Niccolo  Orsini  (d.  1509),  with  equestrian  statue.  Over  the  door, 
Tomb  of  Gen.  Dionigi  N:.ldo  (d.  1510),  by  Lor.  Bregno.  Stained  glass  by 
Oirol.  Mocetto  (1473,  restored  in  1814). 

Choik  Chapels  ffrom  right  to  left).  Ist  Chapel  (Capp.  del  Crocefisso): 
Tomb  of  Baron  Windsor  (d.  1574),   of  England,  by  Al.  Vittoria.    2nd  Chap. : 


8S.  Giovanni  e  Paolo.         VENICE.  47.  Route.   ^27 

Keiiaissance  alfar  with  a  ftafue  of  Mary  Magdalen,  by  Bartolo  di  Francesco 
(if  Bergamo  (1523).  —  In  the  large  central  chapel,  or  choir  proper :  Tomba 
of  the  Uogcs :  (r.)  "Michele  Morosini  (d.  1382),  in  the  Gothic  style,  with  a 
mosaic  in  the  lunette,  and  Leonardo  Loredan  (d.  1521),  with  sculptures 
liy  Danese  Cattnneo,  Girol.  Campagna,  and  others  (1572) ;  (1.)  'Andrea  Ven- 
dramin  (d.  1478),  by  Alessundru  Leopardi  and  tlie  Lombardi  (completed 
after  1493) ,  probably  tlu^  most  beautiful  monument  in  Venice,  designed 
under  the  influence  of  anticjue  Greek  sculptures  (the  female  figures,  by 
Lor.  Bregno ,  do  not  belong  to  the  original  design),  and  Marco  Corner 
(d.  13H8),  Gothic.  The  luagnilicent  high-altar  dates  from  l(il9;  on  each 
side  of  it  i^  an  altar-piece  fr.im  the  right  transept  :  (1.)  .St.  Augustine,  by 
Bart.  Vivarini  (14(3);  (r.)  .Vpotheosis  of  St.  Antoninus,  Bishop  of  Fhrence, 
by  Lorenzo  Lotto  (15't'J).  —  1st  Chapel  to  the  left  of  the  Choir:  Cima  da 
CorteglianOy  Coronation  of  the  Virgin,  with  numerous  saints  (also  from  the 
right  trausepi);  2nd  Chap.:  Gothic  tomb  of  the  Condottiere  Jac.  Cavalll 
(d.  1384),  by  i'aolo  Mcissegne. 

Left  TRAN.sKhT.  Above  tl>e  entrance  to  the  Chapel  of  the  Rosary 
(Capp.  del  Rosaiio,  founded  in  1571  to  coinmemorate  the  battle  of  Lepanto 
and  b'lrned  out  in  1867;  reconstruction  projected),  the  monument  of  Doge 
Antonio  Vonier  (d.  1400),  in  the  style  of  the  Mu^segne.  —  Farther  on  in 
the  church,  Monument  of  the  wife  and  daughter  of  Doge  Antonio  Venier, 
1411 ;  monument,  with  equestrian  statue  in  wood,  of  Leonardo  da  Prato 
(d.  1511). 

Lkkt  Aisle.  On  the  right  and  left  of  the  door  of  the  Sacristy.,  admirable 
wood-carving  by  Andrea  Brustolon  (1698).  —  In  the  Sacristy  :  to  the  left 
of  the  altar,  Christ  bearing  the  Cruss,  by  Alvite  Vivarini  (about  1500;  sig- 
nature forged;  restored);  Christ,  with  SS  Andrew  and  Peter,  by  Rocco 
Marconi  (from  the  rit;ht  transept).  —  Farther  on  in  the  aisle,  monument 
of  Doge  Pasquale  Malipiero  (d.  1462)  by  Pietro  Lombardi ;  tombstone  of  the 
senator  Bonzio  (d.  1508),  under  it,  statues  of  St.  Thomas  Aquinas  by  An- 
tonio Lombardi  and  St.  Peter  Martyr  by  Paolo  della  Stella;  in  the  recesses 
below,  (r.)  the  recumbent  effigy  of  Doge  Michael  Steno  (d.  1413);  °JI(m- 
ument  of  Doge  Tommaso  Mocenigo  (d.  1423),  by  Piero  di  Niccold  and  Oiov. 
di  itartino  of  Florence  (the  decoration  shows  the  transition  from  the  Gothic 
to  the  Renaissance  style,  the  sculptures  reveal  the  influence  of  Donatello); 
monument  of  Doge  Niccolo  Marcello  (d.  1474)  by  Pietro  Lombardi.  Over 
the  following  altar,  early  copy  of  Titian's  Death  of  St.  Peter  Martyr,  a 
celebrated  picture  destroyed  when  the  Capp.  del  Rosario  was  burned. 
Over  the  last  altar,  a  statue  of  St.  Jerome  by  Aless.  Vittoria;  adjoining 
it,  the  monument  of  the  Marquis  de  Chasteler  (d.  1825),  who  distinguished 
himself  in  the  Tyrolese  war  in  1809. 

Oil  tlic  N.  side  of  th(!  Campo  rises  the  rich  fa^ado  of  tho  *Scuola 
di  San  Marco  (PI.  H,  4),  rebuilt  in  1486-95  by  Moro  Coducci  and 
llie  Lombardi.  In  the  ptidiment  ovor  tlve  portal  is  a  good  relief  re- 
presenting 8f.  .Mark  surrounded  by  his  fraternity  (perhaps  by  a 
Fieri ntine  artist);  beside  the  door  are  singular  reliefs  in  perspec- 
tive of  two  lions,  and  two  reliefs  (Miracles  of  St.  Mark)  by  Tullio 
Lr.mbardi.  The  building,  with  the  adjacent  Dominican  monastery, 
has  been  used  as  a  hospital  (Ospedale  Cixnle)  since  1815.  The  chief 
ward  has  a  roagiiiflcent  ceiling. 

*Santa  Maria  dei  Miracoli  (PI.  G.  U,  4),  in  the  vicinity,  com- 
pletely restored  in  1885-86,  is  a  small,  early-Renaissance  church 
without  aisles,  erected  in  1481-89  under  the  superintendence  of 
Pietro  Lombardi,  and  richly  encrusted  with  marble  both  without 
and  within.  The  quadrangular  domed  choir,  fourteen  steps  higher 
than  the  nave,  is  peculiar.  On  the  right  and  left  are  ambones,  or 
lecterns   where  the  epistles  and  gospels  are  read ,   as  in    ancient 


328    Route  47.  VENICE.  e.  From  St.  Mark  to 

Christian  churches.  The  barrel  vaulting,  with  its  richly  gilded 
coffers,  is  painted  by  Oirol.  Pennacchi.  In  the  sacristy  (under  the 
choir)  are  statues  of  SS.  Francis  and  Clara,  by  Girol.  Campagna; 
in  the  adjoining  passage  is  an  unfinished  relief  of  the  Last  Supper, 
by  TuUio  Lomhardi. 

"We  follow  the  lane  passing  on  the  S.  side  of  Santi  Giovanni  e 
Paolo  and  the  baroque  Ospedaletto  Church  (PI.  H,  4 ;  built  by  Bald. 
Longhena  in  1674),  to  the  E.,  cross  the  Rio  Santa  Oiusti7ia,  go  a  few 
paces  to  the  right,  and  enter  the  side-street  on  the  left,  which 
brings  us  to  — 

San  Francesco  della  Vigna  (PI.  I,  K,  4),  a  building  without 
aisles  by  Jac.  Sansovino  and  Fra  Franc,  di  Giorgio  (1534)  ;  the  fa(^.ade, 
designed  by  Andrea  Palladia  (1568),  was  not  completed  until  1634. 

Intekiok.  1st  Chapel  on  the  right:  Laat  Supper,  by  Oirol.  da  Saula 
Croce:  3rd  chapel  :  Monuments  of  the  doges  Francesco  and  Alvise  Contarini 
(d.  1624  and  1684).  Right  Tuansept,  Enthroned  Madonna,  by  Fra  Antonio 
da  Negroponte  (about  1450).  In  the  Choir,  on  the  left,  monument  of  Doge 
A.  Gritti  (d.  1538).  —  To  the  left  of  the  choir,  in  the  CaI'pella  Oicstiniani, 
is  an  altar  with  reliefs  in  marble  of  the  15th  cent.,  from  the  workshop  of 
i\i6  Lomhardi;  Last  Judgment  below;  above  (as  an  altar-piece),  St.  Jerome 
and  four  other  saints,  with  the  history  of  St.  Jerome  in  three  sections  below; 
over  them  Jladonna  and  angels;  at  the  sides  of  the  chapel  twelve  prophets 
and  the  Evangelists;  higher  up,  the  history  of  Jesus  in  eighteen  sections. 

—  In  the  chapel  of  the  Cloisteus,  adjacent  to  theN.,  opposite  the  entrance 
of  the  left  transept,  Madonna  and  four  saints,  by  Oiov.  Bellini  (1507;  spoiled). 

—  To  the  left:  2nd  chapel,  Altar  with  statues  of  SS.  Rochus,  Antonius 
Abbas,  and  Sebastian  by  Al.  ViUoria ;  5th  chapel  (in  the  left  transept), 
Adoration  of  the  Magi  by  Paolo  Veronese  (spoiled). 

A  little  to  the  S.W.,  beyond  the  Rio  della  Piet^,  is  the  church 
of  San  Lorexzo  (on  the  W.),  containing  a  fine  iron  screen  and 
statues  of  SS.  Lawrence  and  Sebastian  by  Girol.  Campagna  (at 
the  higli-altar).  —  To  the  S.  is  the  former  Scuola  San  Giorgio  degli 
ScMavoni  (PI.  I,  5 ;  best  light  about  midday),  established  in  1451 
by  a  Dalmatian  (Slavonic)  Brotherhood  for  the  succour  of  poor  Dal- 
matian sailors  and  others,  with  a  Renaissance  faijade  of  1551. 

The  Interior,  with  a  low  wooden  ceiling,  is  adorned  with  'Paintings 
by  Vitlore  Carj^accio  (ca.  1502-1508):  (r.)  Christ  on  the  Mount  of  Olives; 
Christ  invited  to  the  house  nf  Matthew;  and  series  Illustrating  the  lives  of 
the  three  great  Dalmatian  saints,  Jerome,  George,  and  Tryphonius.  On  the 
right  are  three  scenes  relating  to  St.  Jerome,  the  best  of  which  is  his  Death. 
Opposite  and  on  the  left  of  the  altar  are  three  scenes  from  the  life  of  St. 
George,  including  a  fine  representation  of  his  combat  with  the  Dragon 
in  a  beautiful  landscape.  Next  the  altar  on  the  right,  the  legend  of  St. 
Tryphonius.  Mr.  Ruskin  devotes  the  iirst  supplement  ('The  Shrine  of  the 
Slaves')  of  'St.  Mark's  Resf  to  a  description  of  these  paintings.  Above  the 
high-altar  is  a  Madonna  by  Vi7ic.  Catena.  The  oratory,  on  the  first  floor, 
to  the  left,  Las  a  fine  wooden  ceiling. 

Farther  S.  we  come  to  the  church  of  Sant'  Antonino,  where  we 
cross  the  bridge  to  the  right  to  San  Giorgio  del  Greci  (PI.  I,  5; 
oomp.  p.  287),  erected  after  1538  by  Sante  Lomhardi  and  Chiona, 
with  a  leaning  campanile,  an  ikouostasis  adorned  with  Byzantine 
paintings  on  a  golden  ground,  and  a  few  mosaics,  —  Returning  to 
S.  Antonino,  and  resuming  a  S.  direction,  we  soon  reach  — 


the  Eastern  Quarters.  VENICE,  47.  Route.    329 

San  Giovanni  in  Bragora  [Vl.  1,  5),  a  cliurch  of  early  origin, 
entirely  restored  at  the  beginning  of  the  18th  century. 

2nd  Chapel  on  the  right :  Al.  Yivarini,  Madonna.  —  On  the  piers  in 
front  of  the  choir- chapel  :  right,  Cima  da  Coiiegliano,  Constantine  and 
St.  Helena  by  the  Cross  (1502);  to  the  left,  AlrUe  Vivarini,  Resurrection 
(1498).  At  the  back  of  the  high-altar:  Cima  da  Coneffliano,  'Baptism  of 
Christ  (one  of  the  master's  chief  works;  1494).  —  On  the  left  v.'all  of  the 
church,  Paris  Bordone,  Last  Supper;  farther  on,  Bart.  Vivarini,  Madonna 
with  St.  Andrew  and  John  the  Baptist  (1478);  under  it,  Cima  da  Conegliano. 
Three  scenes  from  the  legend  of  the  Holy  Cross,  originally  a  predella  of 
the  above-named  picture.  —  This  church  can  be  seen  to  advantage  only 
in  bright  weather. 

A  little  to  the  S.  of  S.  Giovanni  in  Bragora  is  the  Rlva  degli 
Schiavoni  (p.  305"). 

We  may  go  towards  the  E.,  past  San  Martina,  begun  by  Sanso- 
vino  in  1540,  completed  in  1653  (fagade  of  1897).  Within  is  a  font 
with  four  kneeling  angels  by  TuUio  Lombardl,  1484;  above  the 
main  entrance,  Last  Supper  by  Girolamo  da  Santa  Croce,  1549. 
Farther  on  is  the  *Arsenal  fPl.  K,  L,  5),  founded  in  1104  and  re- 
peatedly enlarged  in  the  14th,  15th,  and  19th  centuries.  At  the 
zenith  of  the  Republic  it  employed  16,000  workmen,  but  in  the 
18th  cent.  2000-3000  at  most,  and  at  present  about  3000.  At  tii:- 
entrance  rise  four  famous  antique  lions,  brought  from  the  Pir<eus  in 
1687  and  1716;  the  body  of  the  large  one  on  the  left  bears  Runic 
inscriptions  (by  the  Normans,  1040).  Handsome  Renaissance  gate- 
way of  1460.  —  Admission,  see  p.  288. 

Ml'sel'm  (cross  the  court  and  mount  staircase  on  the  left).  First  Floor: 
Interesting  collection  of  models  of  ships  of  all  periods,  including  a  model 
and  the  scanty  remains  of  the  Buciutoro,  a  vessel  destroyed  by  the  French, 
from  which  the  Doge  was  wont  annually  on  Ascension  Day  to  throw  the 
ring  (p.  303)  into  the  Adriatic,  which  he  thus  symbolically  wedded;  model 
of  the  .system  of  piles  on  which  the  city  is  to  a  great  extent  built  (comp. 
p.  292).  —  Second  Floor:  Fine  collection  of  weapons ;  by  the  entrance,  statue 
of  General  Vittore  Pisano  (1380),  and  also  two  Turkish  banners,  taken  at 
Corfu  in  1537  and  at  Lepanto  in  1571 ;  armour  of  the  Condottiere  Gat- 
tamelata  (see  p.  273),  of  Henri  IV  of  France,  and  of  several  doges;  re- 
volvers and  breech-loaders  of  a  primitive  description  (16th  cent.);  a  finely- 
executed  culverin  of  steel,  adorned  with  reliefs;  instruments  of  torture;  bust 
of  Napoleon  of  1805.  Monument  to  Admiral  Angelo  Emo  (d.  1792),  by  Ca- 
nova;  adjacent,  to  the  right,  trophies  and  Turkish  banners  taken  in  1472  at 
Friuli.  (Explanatory  inscriptions  on  each  object;  fees  officially  prohibited.) 

On  the  facade  of  the  museum  is  the  monument  of  Count  von  der  Schulen- 
lurg,  marshal  in  the  Venetian  service  (d.  1747),  who  directed  the  famous 
defence  of  Corfu  against  the  Turks  in  1716. 

We  next  follow  the  Rio  delV  Arsenate,  to  the  S.  to  the  church 
of  San  Biagio  (PI.  K,  6),  in  front  of  which  stands  a  monument 
commemorating  the  admirable  service  of  the  soldiers  in  the  inun- 
dation of  xMarch,  1882. 

The  Via  Garibaldi  leads  hence  to  the  *Giardini  Pubblici  (PI. 
L,  M,  6,  7),  a  pretty  park,  20  acres  in  extent,  laid  out  by  Na- 
poleon in  1807  on  a  space  obtained  by  the  demolition  of  several 
monasteries.  At  the  entrance  from  the  Via  Garibaldi  is  a  bronze 
Monument  of  Oaribaldi,    and  in  the  grounds  is  a   monument  of 


330   Route  47.  VENICE.  e.  Eastern  Quarten. 

Lieutenant  Franc.  Querini,  who  took  part  in  the  expedition  to  tlie 
North  Pole  mentioned  on  p.  31.  In  the  N.E.  corner,  on  the  Canale 
di  Sant'  Elena,  is  the  Palazzo  delt  E>fposizione  Artistica,  erected  for 
the  biennial  art  exhibitions  inaugurated  in  1896  (p.  286).  On  the  hill 
at  the  S.  end  is  a  Cafe.  Fine  view  of  the  city  and  lagoon.  Electric 
light  in  summer.  —  Steamers  and  gondolas,  see  pp.  284,  283. 

The  adjacent  church  of  San  Giusei  pe  di  Castello  (PI.  L,  M,  6 ), 
entered  from  the  N.  side  of  the  Rio  di  S.  Giuseppe,  beyond  the 
bridge,  contains  ceiling-paintings  with  very  effective  perspective. 
To  the  right  are  an  altar-piece  by  Jac.  Tintoretto ,  representing 
Archangel  Michael  and  Senator  Michiel  Buono,  and  the  monument 
of  Doge  Marino  Grimani  and  his  wife,  by  Scamozzi ;  bi^liind  the  high- 
altar,  Adoration  of  the  Shepherds,  by  Paolo  Veronese;  adjacent, 
to  the  left,  bust  of  Girolamo  Grimani  by  Al.  Vittoria  (1570). 

San  Pietro  di  Castello  (PI.  M,  5),  a  domed  church  of  ancient 
foundation  on  the  island  of  San  Pietro,  separated  from  the  squalid 
lanes, of  this  part  of  the  town  by  the  broad  Canale  di  S.  Pietro,  was 
the  cathedral  of  the  Patriarch  of  Venice  from  1451  to  1807.  The 
facade,  begun  by  Franc.  Smeraldi  in  1596,  is  said  to  reproduce  a 
design  of  Palladio  (1567);  the  interior  was  restored  in  1621.  Hand- 
some campanile  of  1474  rebuilt  by  Moro  Coducci  in  1482-90,  and 
again  in  the  17th  century. 

The  Interiok  is  of  little  interest.  Above  the  side- entrance  on  the 
left  is  a  monument  of  the  14th  century.  Between  the  '2nd  and  3rd  altars 
on  the  right  is  a  marble  throne  from  Antioch,  with  Saracenic  ornament- 
ation and  verses  from  the  Koran  in  Cuflc  characters.  By  the  thinl  altar 
ia  a  late  work  ot  Marco  Basaiti,  representing  St.  Peter  enthroned,  with  four 
other  saints.  The  high-altar,  designed  by  Longhfna,  enshrines  the  bones  of 
San  Lorenzo  Giustiniani  (d.  1455),  first  patriarch  of  Venice  (comp.  p.  353). 
A  statue  of  the  saint  (15th  cent.)  occupies  a  niche  behind.  In  the  left 
transept  is  the  baroque  Cappella  Vendramin,  built  by  Longhena,  with  two 
alto-reliefs  in  marble,  by  Mich.  Onyaro,  17th  cent. :  Consecration  by  Pope 
Paul  V.  of  the  Patriarch  Franc.  Vendramin  as  cardinal,  and  an  allegory 
of  death. 

This  was  the  scene  of  the  Rape  of  the  Venetian  Maidens  by  the 
Triestine  pirates  in  944,  the  story  of  which  has  been  told  by  Rogers  in 
his  'Brides  of  Venice'.  The  pirates  were  followed  and  vanquished,  and 
the  brides  brought  back  in  triumph. 

Napoleon  converted  the  adjoining  partriarchal  palace  into  bar- 
racks and  in  1807  transferred  the  patriarchate  to  San  Marco  (p.  294). 

f.    Quarters  to  the  West  of  the  Canal  Grande. 

The  Ponte  Rialto  (PI.  G,  4;  pp.  317  and  322)  is  a  good  starting- 
point  for  a  visit  to  the  quarters  of  the  city  lying  W.  of  the  Grand 
Canal.  Immediately  beyond  the  bridge  is  (right)  the  Pal.  de'  Camer- 
lenghi  (p.  318).  Farther  on  (right)  is  San  Giacomo  di  Rialto,  the 
oldest  church  in  Venice,  said  to  have  been  built  about  520  and 
reconstructed  in  1071  (now  closed  on  account  of  its  dilapidated 
condition).  —  On  the  farther  side  of  the  adjacent  Vegetable  Market 
here  {Erherla;   PI.  G,  4;  p.  318)  is   a  short  column  of  Egyptian 


/.  Western  Quarters.  VENICE.  d7.  Route.   331 

granite,  to  ■which  a  flight  of  steps  .ascends,  borne  by  a  kneeling 
figure,  '/i  Oobbo  di  Rialtti  (16th  cent.)-  From  this  column  were 
promulgated  the  laws  of  the  Republic. 

Not  far  from  the  market,  at  the  entrance  to  the  Ruga  di  S.  Gio- 
vanni (leading  to  theFrari;  comp.  p.  334),  is  situated  San  Giovanni 
Elemosinario  (PI.  F,  4),  built  by  Scarpagnino  in  15*25.  Entrance 
by  the  gateway  adjoining  the  campanile  (best  light  about  noon). 

"High-altar-piece  by  Titian,  San  Giovanni  Elemosinario  (about  1530; 
mutilated  by  the  absence  of  the  semicircular  upper  section):  —  'St.  John 
the  almsgiver,  bishop  and  patriarch  of  Alexandria,  is  not  a  saint  of  note. 
His  type  is  not  one  that  painters  know  and  respect  as  traditionally  pre- 
served in  the  annals  of  the  pictorial  craft.  A  bishop  giving  alms  might 
be  the  subject  of  a  tame  composition.  None  but  a  man  of  genius  could 
give  interest  and  force  to  such  a  theme;  but  Titian  was  a  genius  and  it 
is  surprising  with  what  power  he  conceives  and  carries  out  his  idea.  .  .  . 
The  forms  are  natural,  but  of  good  scantling,  moving  boldly,  yet  appro- 
priately, foreshortened  with  daring  yet  without  strain,  the  nude  correct, 
the  modelling  masterly.  .  .  .  His  colouring  is  gorgeous,  his  command 
of  line  surprising,  his  touch  unsurpassable"  (C.  it  C).  —  Chapel  to  the 
right,  Altar-piece,  SS.  Sebastian,  Kochus,  and  Catharine,  a  masterpiece  by 
Pordeiwne. 

Passing  the  entrance  of  the  Ruga  di  S.  Giovanni,  and  continuing 
our  way  from  the  Rial  to  Pi  ridge  direct  to  the  N.  W.,  we  cross  a 
canal  and  arrive  at  the  Campo  and  Church  of  San  Ca3siano(  PI.  F,  4). 
This  churi'h,  built  in  1611,  contains  two  fine  pictures:  1st  altar 
on  the  right,  John  the  Baptist  and  four  saints,  ascribed  to  Palma 
Vecchio  (damaged);  choir,  Jac.  Tintoretto,  Cruciflxion  (166S). 

We  next  cross  the  Rio  dl  S.  Cassiano  to  the  W.,  take  the  second 
side-street  to  the  left  (Calle  della  Regina),  and,  again  turning  to 
the  right,  reach  the  church  of  — 

Santa  Maria  Mater  Domini  (PI.  F,  41,  founded  in  1510.  Facade 
with  tine  marble  sculptures  by  Jac.  Sansovino  (1540);  2nd  altar 
to  the  right:  Vine.  Catena,  Martyrdom  of  St.  Christina  (1520); 
right  transept,  *Finding  of  the  Cross,  by  J.  Tintoretto;  opposite. 
Last  Supper,  by  Bonifazio;  beneath,  a  Byzantine  relief  of  the  Ma- 
donna. —  Not  far  hence,  on  the  Grand  Canal,  is  the  — 

*Galleria  Internazionale  d'Arte  Moderna,  on  the  first  floor  of 
the  Pal.  Pesaro  (PI.  F,  3;  p.  319),  which  was  opened  in  1902  and 
is  now  the  most  valuable  collection  of  modern  art  in  Italy.  Adm. 
see  p.  288;  entr.  from  the  court.    Catalogue  (1904)  1  fr. 

Entrance  Hall.  Paintings :  4.  P.  A.  Bernard,  The  vision  ;  59. 
Ph.  Maliavine,  Laughter  (1899).  Si-ulpture:  219.  Aug.  Rodin,  The 
citizens  of  Calais  (plaster);  230.  Ch.  van  der  Stappen,  Bust  of  a 
bisliop. 

Room  A.  Paintings:  43.  H.  Dudley,  The  Moors  in  Spain;  22. 
Ch.  Coltet,  Procession  in  Brittany  (1900);  88.  WL  Schereschewsky, 
Exiles  resting  on  the  way  to  Siberia.  S-ulpture:  209.  P.  Braecke, 
Woman  gathering  wood  (plaster):  212.  Fil.  Cifuriello,  Bust  of  BiJck- 
lin ;  222.  Dom.  Trentncosle,  Hunting  for  cigar-ends;  *217.  Const. 
Meunier,  The  dock-labcurer.  —  To  the  left  is  — 


332   Route  47.  VENICE.  f.  Western  Quarters: 

Boom  B.  35.  P.  Fragiacomo,  Piazza  of  St.  Mark  (1899);  66.  Al. 
Milesi,  Portrait  (1903);  101.  Ettore  Tito,  Lagoon;  77.  Luiyi  Nono, 
The  forsaken;  37.  P.  Frayiacomo,  Swallows ;  on  an  easel,  75.  L.  Nono. 
First  steps.  —  Passing  straight  through  Room  A  we  enter  — 

Room  C.  Paintings :  19.  Gugl.  Ciardi ,  The  sunbeam ;  Giac. 
Favretto,  31.  The  artist's  father,  32.  Goldoni's  first  attempt;  23. 
Any.  DalV  Occa  Bianca,  Piazza  Erbe  in  Verona;  103.  Ett.  Tito,  Birth 
of  Venus.  Sculpture:  216.  Meunier,  Miner;  213.  Cifariello,  Ade- 
laide I'istori  (p.  350). 

RoomD.  To  the  right,  *58.  Lenhach,  Pope  Leo  XIII  (1886); 
70.  Gius.  Mili-Zanetli,  Full  moon  at  Venice;  6.  Ft.  Bramley,  Sheep- 
shearing;  57.  Max  Liebermann,  Lace-makers  (1894);  27.  L.  Dett- 
mann,  Christmas  Eve  (1893)  ;  68.  W.  Milne,  Fruit-trees  in  blossom ; 
86.  G.  Sauter,  Friends. 

Room  E.  112.  H.  Ziigel,  The  return  home;  1.  M.  Ancher,  Fisher- 
men of  Skagen;  *81.  J.  Fr.  Ea/faeUl,  The  Neapolitan  beauty;  80. 
W.  Pratt,  Victim  of  the  waves;  100.  Fr.  Thaulorv,  River  landscape 
in  Normandy  (pastel);  on  easels:  42.  //.  Dudley,  The  widow;  55. 
W.  Leibl,  Portrait. 

Room  F.  Paintings:  2.  Alb.  Baertson,  Landscape  in  Flanders 
(1898;  pastel);  45.  P.  Hijcker,  Evening;  *113.  Ign.  Zuloaga,  'Aunt 
Louisa'.    Also,  223.  P.  Troubettkoy ,  Russian  peasant's  cart. 

Room  G.  Paintings:  78.  E.  Oppler,  Reminiscences  (1899);  11. 
Vitt.  Bressanin,  The  cheat;  71.  Any.  Morbelli,  Christmas  in  the  Old 
Men's  Home  (1903);  91.  Luigi  Selvaiico,  Locomotives  (1903);  *49. 
Fern.  Khnopff,  Portrait.    Also,  224.  Troubetzkoy,  Bust  of  a  girl. 

Room  H.  Paintings:  44.  O.  Hesselbom,  Swedish  landscape;  24. 
Or.  Da  Molin,  Anguish.  Also,  *226.  Ch.  van  der  Stappen,  David 
(plaster)  ;  231-238.  Medals  by  M.  Cazin  and  Al.  Charpentier.  —  In 
the  Passage,  *Etchings  by  Max  Klinger  (140-150)  and  Anders  Zorn 
(206,  207). 

Room  I.  108.  A.  E.  Walton,  Evening;  62.  Franc.  P.  Micheiti, 
Study  of  a  head  (pastel);  on  the  window-wall  are  drawings  by  Gael. 
Previali,  168.  Descent  from  the  Cross,  169.  St.  Paul. 

Room  K.  *Etchings  by  Edg.  Chahine,  W.  Leibl,  J.  A.  Whistler, 
H.  Vogeler,  Th.  van  Kysselberyhe,  Alb.  Baertson,  ami  Stcrm  van's 
Gravesande. 

Continuing  our  course  towards  the  N.W.,  and  crossing  four 
canals,  we  turn  to  the  right  out  of  the  Calle  del  Spezier  through  the 
Salizzada  del  Fontego  dei  Turchi  and  reach  the  entrance  of  the  — 

*Museo  Civico,  which  combines  the  old  Correr  Collection  and 
part  of  the  Morosini  Collection  of  Antiquities  with  the  municipal 
collections  and  is  arranged  in  the  former  Fondaco  de'  Turchi 
(PLE,  3;  p.  319).  Admission,  see  p.  288.  Catalogue  (1900),  1  fr. 
(Steam-boat  station,  see  p.  284.) 

By  the  entrance  and  in  the  court  is  a  series  of  sculptures  and  archi- 
tectural fragments  of  various  epochs,  including  several  Venetian  well-heads 
of  the   12-15th  cent.,   mostly  in  the  form  of  capitals.    At  the  back  of  the 


Mu.ieo  Civico.  VENICE.  47.  Route.    333 

court  is  a  colossal  statue  of  Agrippa  (freely  restored),  supposed  to  have 
been  brought  from  the  Pantheon.  —  To  the  right  is  a  room  with  an  ethno- 
graphical collection  from  Africa  (Raccolta  Miani;  comp.  p.  378). 

The  staircase  in  the  N.  W.  corner  of  the  court  iiscends  to  the  First  Floor, 
with  the  Library,  containing  some  beautiful  bindings  and  a  rich  collection 
of  books  relating  to  the  history  of  art  (open  daily,  except  Sun.,  9.30-3). 

The  Second  Floor  contains  most  of  the  Art  Collections.  —  Room  I. 
Weapons  and  banners,  among  them  some  Turkish  flags  and  beautifully 
ornamented  halberds.  —  The  middle  door  to  the  right  leads  to  — 

KooM  II,  containing  pictures.  1st  Section  (to  the  right) :  21.  Jacobello  del 
Fiore,  JIadonna;  31.  Vitt.  Carpaccio,  Visitation,  from  the  Scuola  degli  Alba- 
nesi  (150i);  33.  Franc.  BL^solo,  Madonna,  with  St.  Peter  Martyr;  37.  Bocc'ccio 
Boccaccino,  Madonna,  with  tlie  Baptist  and  St.  Catharine.  —  2nd  Section 
(to  the  right) :  '78.  H.  van  der  Goes  (here  ascribed  to  Rogier  i^an  der  Weyden), 
Crucifi.\ion,  with  the  Virgin  and  St.  John  (injured).  —  3rd  Section  (to  the 
left):  144.  J.  van  Ooyen,  River-scene.  —  4th  Section:  Numerous  domestic 
pictures  by  LongM  (comp.  p.  311),  the  best  of  which  is  175.  The  fainting 
lady.  Also  (to  the  left),  195.  (3.  B.  Tiepolo,  Nabal's  feast.  On  an  easel, 
Ti.'polo,  Martyrdom  of  St.  Agatha  (sketch).  —  We  now  return  to  R.  I  ;ind 
pass  through  the  end-door  to  the  right  into  — 

Room  III.  Roman  draped  atatues ;  banners,  ships'  lanterns,  models 
of  guns,  etc.,  from  the  Morosini  collection.  On  the  rear-wall,  the  escut- 
cheon of  the  Moroaini.  —  We  now  re-enter  E.  1  and  pass  to  the  left  into  — 

Rooms  IV-VI,  containing  the  rest  of  the  Morosini  Collection:  weapons, 
Turkish  banners,  and  other  spoils  of  war;  bust  of  Doge  Francesco  Moro- 
sini ('Pelopnnne.«iacug':  p.  289)  and  scenes  from  his  Turkish  wars;  models 
of  ships;  old  geographical  globes.  In  R.  V.  arc  two  costumes  of  Venetian 
."enators. 

Boom  VII.  On  the  walls,  portraits  and  other  unimportant  pictures.  In 
the  cases,  Renaissance  "Medals  and  plaquettes;  Greek  and  Roman  coins; 
Venetian  coins  and  seals,  including  a  series  of  zecchine  ('seiiuins'),  showing 
the  portraita  of  all  the  doges. 

Room  VIII  ('Sala  Albrizzi').  Venetian  laces  and  costly  fabrics; 
costumes  of  the  17 -18th  cent.;  puppet-show  (18th  cent.);  miniatures; 
Gothic  wooden  staircase  from  the  Casa  dell'  Agnello  (15th  cent.);  model  of 
the  Palazzo  Pisani  in  Stra  (p.  278);  Persian  carpet  (I5th  cent.).  —  Room  IX. 
Textile  fabrics;  Venetian  costumes;  collection  of  fans,  etc. 

RooJi  X.  (Rococo  Room).  Furniture  of  the  IStb  cent. ;  'society'  pictures 
by  Pietro  Longhi ;  Franc.  Guardi,  Masked  ball;  14.  Al.  Longhi,  Portrait  of 
Goldoni  (p.  322). 

Room  XI.  Two  bronze  candelabra  (No.  101  restored)  and  mutilated 
marble  reliefs  by  Al.  Vittoria,  the  mangled  remains  of  the  plastic  decoration 
of  the  Capp.  del  Rosario  in  SS.  Giovanni  e  Pacilo  (p.  3'27)  ;  lectern  (l5th  cent.)  ; 
work  in  brass  and  wrought-iron ;  small  bronze  sculptures  and  utensils; 
in  the  cabinet  by  the  window,  ornaments  of  the  17th  cent.,  in  agate  and 
silver-gilt,  showing  the  arms  of  the  Pisani-Grimani  families. 

Room  XII.  On  the  walls,  porcelain  and  Venetian  glass  (comp.  p.  343). 
In  the  middle,  miijolica  from  tirbino,  Gnbbio,  Pesaro,  and  Faenza,  etc., 
including  (near  tlie  entrance),  *17.  Plate  from  Faenza  painted  with  mytho- 
logical and  Biblical  scenes,  partly  after  the  wood-cuts  in  an  edition  of 
Ovid  published  at  Venice  in  1497;  912.  Glass  wedding-^ioblct  from  Murano 
(15th  cent.).  —  Room  X  111  (to  the  right).  Carvings  in  ivory  and  wood;  cameos 
and  gems.  —  1!oom  XIV  (left).     JISS.  with  beautiful  miniatures. 

Room  XV.  Pictures  of  the  14-15th  centuries.  Also,  35.  Jac.  Bellini  (V), 
Ouciflxion,  from  an  altar-piece;  43.  M.  Basaiti,  Madonna  (early  work); 
44-46,  4S.  Good  portraits  in  the  Style  of  the  Bellini;  on  easels,  Two  Madonnas 
by  Barl.    Vivarini  and  Bart.  Montagna. 

Room  XVI.  ('Tribuna'),  containing  the  most  valuable  paintings  of  the 
collection.  To  the  right:  1.  Ercole  de'  Roherti  (i),  Battle-scene  (grisaille): 
3.  Oiov.  Bellini  (?  here  attributed  to  the  Paduan  School),  Christ  nionrned 
over  by  two  nngcls  (with  forged  monogram  of  Piirer);  '5.  Vitl.  Carpaccio., 
Two  Venetian   ladies  bleaching    their   hair  in    a   balcony  (comp.  p.  291); 


334    Route  47.  VENICE.  f.  M'estcrn  Quarters.- 

Giov.  Bellini,  6.  Transfiguration,  8.  Crucifixion  with  the  Virgin  and  St.  John 
(early  works);  9.  Franc.  Cossa  (1) ,  Portrait  of  a  young  man;  10.  Cotimo 
Tura,  Pieta.  Opposite:  16.  Giov.  Bellini,  Doge  Giov.  Mocenigo  (ca.  1478); 
19.  Oentile  Bellini,  Doge  Franc.  Foscari ;  17,  20.  Two  lids,  with  bridal  scenes 
(15th  cent.).  In  the  middle:  V2.  Ant.  Rizzo  (?),  Bronze  bust  of  a  beard- 
less man ,  from  a  death-mask  (15th  cent.).  —  We  return  to  the  entrance 
and  ascend  to  the  — 

Fourth  Floor.  —  To  the  left  is  Room  XVII,  containing  the  Rac- 
colta  Canoviana,  with  sketches  and  relics  by  Canova,  and  casts  of  his 
works.  —  Rooms  XVIII-XXI.,  to  the  right,  contain  drawings  (chiefly  by 
Venetians  of  the  18tb  cent.),  engravings,  and  wood-cuts.  In  Ihe  last  room 
is  a  large  bird's-eye  view  of  Venice,  printed  from  a  wooden  block  carved 
by  Zuan  Andrea  (150:1),  probably  after  a  drawing  by  Jacopo  dei  Barbari; 
also  the  original  wooden  block  itself. 

The  Casa  Correr  (p.  319),  formerly  the  residence  of  Teodoro 
Correr  (d.  1830),  founder  of  the  municipal  art-collections,  now 
contains  the  remainder  of  the  Museo  Civico  (adm.,  p.  288;  entrance 
by  door  No.  1729a). 

Ground  Floor.  Models  of  modern  monuments,  etc.  —  First  Floor. 
The  first  rooms  contain  porcelain,  glass,  engravings,  etc.,  bequeathed  by 
difTerent  benefactors.  R.  7.  Musical  instruments;  R.  8.  Copy  of  Michael 
Angela's  Leda  (1529).  R.  9.  National  memorials.  —  Second  Floor.  Natural 
History  Collections. 

To  the  S.  W.  of  tho  Museo  Civico  is  the  church  of  San  Giacomo 
dall'  Orio  (PI.  E,  4),  one  of  the  quaintest  churches  in  Venice, 
rebuilt  in  the  13th  and  16th  cent.,  with  a  timher-roof. 

On  the  entrance-wall,  to  the  left,  Biionconsiglio,  SS.  Sebastian,  Rochus, 
and  Lawrence  (1511).  The  right  aisle  contains  a  vestibule  adorned  with 
a  column  of  verde  atrtico,  and  a  picture  by  Franc.  Bassano,  John  the  Bap- 
tist preaching,  under  a  richly  decorated  wooden  vaulting  of  the  Renais- 
sance period.  In  the  left  aisle,  oppnsite  the  pulpit:  Lorenzo  Lotto,  Madonna 
and  saints,  a  replica  of  the  painting  at  Ancona  (1546;  injured  and  badly 
lighted). 

Proceeding  to  the  W.  through  the  Ruga  Vecchla  and  turning 
to  the  right  at  the  end  of  the  Oampo  de'  Tedeschi,  we  reach  the 
church  of  San  Simeone  Geande  (PI.  D,  3),  containing  a  Last 
Supper  by  Jac.  Tintoretto  (oarly  work) ;  in  the  chapel  to  the  left  of 
the  choir  is  the  fine  Gothic  tomb  of  the  beatified  Simeon,  by  a 
Roman  artist  (1317). 

San  Simeone  Piccolo,  Oli  Scalzi,  and  the  station,  see  p.  320. 


The  direct  route  from  the  Rialto  to  the  Frari  leads  past  San 
Giovanni  ELemosinario  (p.  331)  through  the  Ruga  di  San  Giovanni 
(PI.  F,  4),  and  crosses  the  Campo  Saut'  Aponal.  Over  the  door  of  the 
church  of  SanV  Aponal  (Venetian  for  S.  ApoUinare)  is  a  marble 
group  of  General  Vitt.  Cappello  (d.  1467)  kneeling  before  St.  Helena, 
by  Ant.  Rizzo  (1480).  Near  this  church  is  the  Pal.  Albrizzi  (fine 
stucco-embellishments  in  the  Interior,  by  Al.  Vittoria)  and  beyond 
it  the  Campo  San  Polo  (Pi.  E,  F,  4;  on  the  neighbouritig  Rio  di 
S.  Polo  is  the  Pal.  Corner-  Mocenigo,  with  a  good  facade  by  San- 
micheli).  —  Passing  between  the  church  of  San  Polo  and  its  cam- 
panile (14th  cent.),  we  cross  the  Rio  S.  Polo  and  proceed  in  a 
straight  direction  to  the  Rioterra  dei  Nomboli.    Here  we  turn  to 


Fr<iri.  VENICE.  47.  Route.    335 

the  left,  and,  where  it  bends,  follow  the  narrow  side-street  to  the 
right,  finally  crossing  a  canal  and  reaching  the  Campo  San  Toma 
(Pi.  K,  6),  a  little  to  the  N.  of  the  steamboat-station  mentioned  at 
p.  284.  The  chur-h  of  San  Tomi  (adni.  see  below)  contains  tem- 
porarily (sinre  1905)  the  most  valuable  altar-pieces  from  the  Frari. 
In  this  square  lies  also  the  old  Scuola  dei  Oalegheei  ('Cobblers' 
Guild'),  founded  in  the  15th  cent,  and  the  only  building  of  the  kind 
in  Venice  that  has  kept  its  exterior  unaltered.  Over  the  portal  is 
a  relief  of  St.  Mark  healing  the  cobbler  Anianus  (1479),  remarkable 
for  its  well-preserved  colouring.  —  A  few  paces  to  the  N.W.  lies 
the  former  church  of  the  Franciscans,  or  the  — 

**Frari  {Santa  Maria  Oloriosa  dei  Frari,  PL  E  5 ;  comp.p.  287), 
a  cruciform  Gothic  church,  one  of  the  largest  and  moat  beautiful  at 
Venice,  erected  in  1330-1417  on  the  site  of  a  building  of  1250.  Its 
vaulting  is  supported  by  twelve  circular  piers.  It  contains  numer- 
ous monuments  and  pictures,  and  like  Santi  Giovanni  e  Paolo 
(p.  326)  is  the  last  resting-place  of  many  eminent  men.  Over  the 
portal  (left)  is  a  *Statue  of  the  Madonna,  by  a  Tuscan  sculptor  (early 
15th  cent.  ).  Beside  the  portal  of  the  left  transept  is  a  fine  relief 
of  the  Madonna  and  angels  (about  1400). 

Interior  (under  rtstoraiion  since  19u3;  adm.  50c.  incl.  San  Toma). 
RiOHT  Ai8LK.  Adjoining  the  Ist  altar  to  the  left,  the  large  monument 
of  Titian  (d.  1576),  by  Luigi  and  Pietro  Zandomeneyhi  in  1852.  In  the  centre, 
Titian  sitting  by  a  genius  and  unveiling  the  atatue  at  Sais;  on  the  vcall  are 
reliefs  of  three  celebrated  pictures  of  Titian,  the  Assumption  (p.  308), 
Death  of  St.  Peter  Martyr  (p.  326),  and  Martyrdom  of  St.  Lawrence  (p.  3^); 
below  are  two  figures  with  tablets:  'Eques  et  comes  Titianus  sit.  Caro- 
lus  V.  1553",  and  'Titiano  monumentum  erectum  sit.  Ferdinandus  I.  1839'.  — 
3rd  altar,  St.  Jerome,  a  atatue  by  Alessandro  Vittoria,  said  to  possess  the 
features  and  figure  of  Titian  when  in  his  98th  year. 

Right  Thansept.  Jlonument  of  Jacopo  Marcello  (d.  1484  at  (he  capture 
of  Gallipoli),  from  the  workshup  of  Pietro  Lomburdi ;  behind  is  a  frieze 
witli  the  triumphal  procession  of  the  hero;  altar-piece  in  several  sections 
by  Barl.  Vivurtni  (1487).  —  On  the  right,  near  the  door  of  the  sacristy, 
the  (lotliic  monument  of  the  beatilied  Facilico  Buon  (d.  1437),  with  a  relief 
of  th(  Baptism  of  Christ,  by  the  Florentine  Mastev  of  the  Pellegrini  C/iapel 
(p.  247).  Over  the  door  of  the  sacristy,  the  monument  of  Adm.  Bene- 
detto Pesaro  (d.  1503),  by  Lor.  Bregno  and  Ant.  Minello,  with  a  figure  of 
Jlars  (right)  by  Barrio  da  Montelupo.  Near  the  door,  on  the  left,  wooden 
equestrian  "Statue  of  the  Roman  prince  Paolo  Savello  (d.  1405),  'already 
breuihing  the  naturalistic  spirit  of  the  daw  ning  Renaissance'  (Burckhardt). 
—  In  the  Sackisty,  restored  in  1905  in  the  original  style:  "'Altar-piece 
in  throe  sections,  Madonna  enthroned,  with  saints  and  angelic  musicians, 
by  Giov.  Bellini  (1488),  in  a  beautiful  Renaissance  frame  by  Jacopo  da 
Faema:  'the  gentlest  and  most  elegant  emanation  of  Bellini's  art  ....  the 
^'irg^n  hand.ai'nie  and  pensive,  the  children  pretty  in  their  crowns  of 
leaves,   the  saints  in  admirable  proportion'  (C.  &  C). 

In  the  Nave  a  high  screen  ot  marble,  covered  with  reliefs  (by  Andrea 
Virentino,  1475;  above,  statues  of  apostles  and  a  group  of  the  Crucifixion), 
separates  the  monks'  clioir  from  the  rest  of  the  church.  Elegantly  carved 
stalls,  by  Marro  Cozzi,  1468,  semi-Gothic  in  style. 

Choir.  To  t/ie  right:  Gotliie  mausoleum  of  the  Doge  Franc.  Foscari 
(d.  1457),  by  Paolo  and  Ant.  Bregno  {;i)\  (1.)  Early  Renaissance  *Tomb  of 
the  Doge  Niccolo  Tron  (d.  1473),  by  Ant.  Rizzo.  The  vaulting-cells  still 
retain  traces  of  their  original  painting.  Titian's  Assumption  of  the  Virgin 
(p.  308)  was  at  one  time  the  altar-piece  here.  —  Chapels  on  the  left:  1st, 


336    Route  47.  VENICE.  f.  Wei^tern  Quarferi^: 

altar-piece,  Madonna  and  saints,  hy  Bern.  Licinio  (about  1535);  2nd,  mon- 
ument of  ilelchior  Treviaano  (d.  1500),  the  altar  in  coloured  and  gilded 
carved  wood,  by  the  Lombardi,  in  the  centre,  John  the  Baptist  in  wood,  by 
Donatella  (1451);  3rd,  altar-piece,  St.  Ambrose  and  saints,  above,  Corona- 
tion of  the  Virgin,  by  Alvi.^e   Vivarini,  completed  by  Marco  Basaiti. 

Left  Transept.  Altar-piece  in  3  sections,  St.  Mark  with  four  other 
saints,  by  Bart.    Vivarini  (1474). 

Left  Aisle.  Baptistery:  altar  in  marble,  above.  Madonna  and  foui 
saints,  in  the  style  of  the  Massegne  (about  1400);  on  the  font,  a  statue  ot 
John  the  Baptist,  by  Sansovino;  above,  five  more  saints  in  the  style  of 
the  Massegne.     Farther  on:  Tomb  of  Bishop  Jac.  Pesaro  (d.  1547). 

""■"Altar-piece,   Madonna   of  the  Pesaro  family,  by   Titian  (1526). 

'More  elaborate  and  studied,  and  in  every  sense  grandiose,  the  'Ma- 
donna di  Casa  Pesaro'  reveals  more  surely  than  the  'Annunciation'  (Scuola 
di  S.  Rocco,  p.  337)  the  breadth  of  Titian's  talent,  and  takes  us,  not 
without  preparation,  to  the  height  of  his  pictorial  fame.  He  has  brought 
to  perfection  the  last  and  finest  of  all  forms  of  presentation  pictures,  the 
noblest  combination  of  the  homely  and  devotional  with  palatial  archi- 
tecture —  the  most  splendid  and  solemn  union  of  the  laws  of  composition 
and  colour  with  magic  light  and  shade.  .  .  .  Far  away  from  those  humble 
conceptions  of  place  which  mark  the  saintly  pictures  of  earlier  times,  the 
Pesari  kneel  in  the  portico  of  a  temple,  the  pillars  of  which  soar  to  the 
sky  in  proportions  hitherto  unseen.  .  .  .  The  Virgin  sits  on  her  throne, 
bending  down  in  a  graceful  kindly  way,  and  directs  her  glance  towards 
the  kneeling  'Baflfo'  (Jacopo  Pesaro,  Bishop  of  Paphos),  her  white  veil 
falling  over  one  shoulder,  but  caught  on  the  other  by  the  infant  Christ, 
who  peeps  with  delightful  glee  from  beneath  it  at  St.  Francis  (behind 
whom,  in  the  background,  is  St.  Anthony  of  Padua).  ...  To  the  left  front 
of  the  throne  St.  Peter  at  a  desk  interrupts  his  reading,  and  marks  the 
line  with  his  finger  as  he  turns  to  look  down  at  Baffo,  who  kneels  in 
prayer  on  the  floor  below.  In  the  rear  between  both  an  armed  knight 
with  the  standard  of  the  church  unfurled  and  a  captive  Turk  bound  by 
a  rope  symbolizes  the  victory  of  the  Pesari.  Below,  to  the  right,  are 
Benedetto  Pesaro  and  the  members  of  his  family'  (C.  &  C). 

Monument  of  Doge  Giov.  Pesaro  (d.  1659),  of  a  rich  baroque  archi- 
tectural character,  occupying  the  entire  wall,  with  figures  of  negroes  as 
bearers,  by  Melchior  Barthel  and  Longhena.  Mausoleum  of  Canova  (d.  1822), 
'■principi  sculptorum  aetatis  suae\  erected  in  1827  from  the  master's  own 
design  for  Titian's  monument,  executed  by  Canova's  pupils.  —  By  the 
entrance-wall,  to  the  right  of  the  principal  portal,  the  tomb  of  Pietro  Ber- 
nardo (d.  1538),  executed  about  1520  by  Tullio  Lombardi,  with  figures  of 
Christ,  St.  Peter,  and  the  deceased:  'nothing  can  be  more  detestable  or 
mindless  in  general  design,  or  more  beautiful  in  execution'  (Rutkin), 
Adjacent,  in  the  left  aisle  (above),  the  unpretentious  monument  of  Simone 
Dandolo  (d.  1360),  by  the  Massegne  (1396). 

The  adjacent  monastery  contains  the  Archives  of  Venice,  one  of 
the  most  magnificent  collections  of  the  kind  in  the  world,  compris- 
ing ahout  14  million  documents ,  the  earliest  of  which  dates  from 
883.  They  are  deposited  in  298  different  apartments  (open  on 
week-days,  10-11.30  &  1.30-3).  —  In  this  neighbourhood  is  the 
Scuola  di  San  Giovanni  Evangelista  (PI.  E,  4),  founded  in  the 
14th  cent.,  but  entirely  modernized  in  1855-57,  with  the  exception 
of  one  side  of  the  handsome  old  vestibule  in  the  style  of  the  Lombardi 
(1481)  and  the  elegant  double  staircase  by  Moro  Coducci  (1498). 

Beyond  the  Archives  to  the  W.  is  the  church  of  San  Rocco 
(PI.  D,  E,  4,  5),  built  in  1490  and  restored  in  1725,  with  a  facade  of 
1771  by  Maccaruzzi.  Like  the  adjacent  Scuola  di  S.  Rocco,  which 
we  visit  in  connection  with  it,  it  contains  numerous  pictures  by 


,Scmla  di  San  Rocco.         VPINICE.  47.  Route.    337 

Tintoretto.  (These  are  all  described  by  Mr.  Raskin  in  the  'Vene- 
tian Index'  of  'Stones  of  Venice'.) 

On  the  right,  the  Annunciation ,  beyond  it,  the  Pool  of  Bethesda, 
and  above  the  latter,  St.  Rochus  in  the  wilderness,  all  by  Tintoretto. 
Chapel  to  the  right  of  the  choir:  Titian,  Christ  dragged  to  Golgotha, 
ascribed  by  Vasari  to  Gioi'gione.  In  the  choir,  to  the  right,  St.  Rochus  in 
the  hospilal,  above,  St.  Rochus  healing  animals,  to  the  left  above.  Arrest 
of  St.  Rochus,  below,  Angel  appearing  to  the  saint  in  prison,  all  by 
Tintoretto,  Behind  the  entrance  to  the  sacristy,  to  the  left,  Pordenone, 
St.  Sebastian,  in  fresco.  On  the  loft  side  of  the  church,  Fumiani,  Expulsion 
of  the  money-changers  from  the  Temple ;  above  it,  Pordenone,  St.  Christ- 
opher and  St.  Martin. 

In  the  alley  to  the  left  of  the  church  is  the  entrance  to  the 
Scuola  di  San  Bocco  (PI.  D,  E,  5)  ,  the  house  of  the  Fraternity  of 
St.  Rochus,  built  in  1524-50  from  the  designs  of  Bart.  Buon  of 
Bergamo  (1517j  by  Sante  Lombardi  and  Scarpagnino.  It  possesses 
a  magnificent  early-Renaissance  facade,  and  a  handsome  old  stair- 
case and  halls.  The  walls  of  the  latter  are  adorned  with  ^Pictures 
(mostly  in  bad  preservation)  by  Jac.  Tintoretto  (1560-88),  whose 
important  histoiical  position,  as  the  first  of  the  Venetian  painters 
to  represent  Scriptural  scenes  in  a  perfectly  naturalistic  manner, 
is  nowhere  more  distinctly  to  be  appreciated  (adm.,  see  p.  288 j 
good  light  only  in  the  afternoon).  Hand-catalogues  of  the  pictures 
are  provided. 

LowEK  Hall,  on  the  left  wall,  opposite  the  entrance  :  1.  Annunciation  ; 

2.  Adoration  of  the  Magi;  3.  Flight  into  Egypt,  with  attractive  landscape; 
4.  Slaughter  of  the  Innocents;  5.  Mary  Magdalen,  in  a  landscape  under 
evening-light.  On  the  altar,  Qirol.  Campagna,  Statue  of  St.  Rochus.  Right 
wall:  I.  Landscape  with  St.  Mary  of  Egypt ;  2.  Presentation  in  the  Temple; 

3.  Assumption  of  the  Virgin.  —  On  the  right  side  of  the  staircase  over  the 
first  landing  is  an  'Annunciation  by  Titian,  painted  in  1525  and  suggestive 
of  'the  distance  which  separates  the  simple  staidness  of  older  pictorial 
forms  from  the  gorgeous  brilliancy  of  Titian's  time'.  Opposite,  a  Visita- 
tion by  Tintoretto. 

At  the  top,  on  the  right,  is  a  small  room  containing  an  Ecce  Homo, 
an  early  work  by  Titian.  —  In  the  Laege  Hall  ,  above  the  door  of 
the  room  just  named,  Raising  of  Lazarus;  farther  to  the  left,  Christ 
feeding  the  multitude.  At  the  altar,  St.  Rochus  in  clouds;  at  the  sides, 
statues  of  St.  Sebastian  and  John  the  Baptist,  by  Qirol.  Campagna.  On  the 
left  wall:  1.  The  Last  Supper;  2.  Gethsemane  ;  3.  Resurrection  of  Christ; 

4.  Baptism;  5.  Birth  of  Christ.  On  the  opposite  wall:  1.  Temptation  of 
Christ  (below,  a  portrait  of  Tintoretto,  1573);  2.  Pool  of  Bethesda;  3.  As- 
cension. On  the  ceiling,  Moses  smiting  the  rock,  the  Brazen  Serpent,  the 
Shower  of  manna  Handsome  wall-panelling,  with  figures  carved  in  wood, 
by  Pianta.  The  altar-reliefs  ot  scenes  from  the  life  of  St.  Rochus  are  by  Oiov. 
Marc/iiori  (1720).  Fine  marble  pavement  with  inlaid  work,  restored  by 
Dorigo  in  1885-90  from  designs  by  Sarcardo.  —  The  door  to  the  right  leads 
into  the  Sala  dell'  Albkrgo,  containing  Tintoretto''!  masterpiece,  a  large 
"^Crucifixion  of  15B5.  Opposite,  Bearing  of  the  Cross,  Mocking  of  Christ, 
and  Christ  before  Pilate  (all  three  restored  in  1904).  On  the  ceiling, 
St.  Rochus  in  presence  of  God. 

The  Tbeasdrt  (25  c.)  contains  the  remains  of  the  old  church  treasure 
of  the  brotherhood,  which  was  the  only  fraternity  not  suppressed  in  1806. 

The  gateway  adjoining  the  Scuola  leads  to  the  ancient  church  of 
San  Fantaleone  (PI.  D,  5),  rebuilt  in  1668-75.   It  is  adorned  with 
Baedekek.  Italy  I,    13th  Edit.  '22 


338   Route  47.  VENICE.  /'.  Western  Quarler.^. 

a  huge  ceiling-painting  by  Fumiani,  representing  the  martyrdom 
and  glorification  of  St.  Pautaleon  (ca.  1700).  On  the  first  altar  to 
the  left,  Cristof.  Solari  (?),  Head  of  Christ.  The  chapel  to  the  left 
of  the  choir  (closed)  contains  a  Coronation  of  the  Virgin  by  Ant.  Viva- 
rini  and  Giov.  Alemanno  (1444 ;  covered) ;  also,  on  the  marble  altar, 
an  Entombment  in  high  relief,  ascribed  to  Marino  Cedrino  (1460). 

Crossing  the  Rio  di  Ca  Foscari,  and  traversing  the  long  Campo 
Santa  Margherita  (PL  D,  5,  6),  we  reach  the  church  of  — 

Santa  Maria  del  Carmine  (PI.  D,  6),  known  as  I  Carmini,  which 
was  consecrated  in  1348,  and  restored  in  the  17th  century. 

Over  the  2nd  altar  on  the  right,  Cima  da  Conegliano,  "Adoration  of 
the  Shepherds  and  saints  (1504);  4th  altar  on  the  right,  Tintoretto,  Pre- 
sentation in  the  Temple,  a  youthful  work;  2nd  altar  on  the  left,  Lorenzo 
Lotto,  St.  Nicholas  with  three  angels  and  SS.  John  the  Baptist  and  Lucy 
on  clouds,  painted  in  1529,  and  showing  solidity  of  handling  and  a  true 
sense  of  beauty  (damaged);  by  the  5th  altar  on  the  left,  Pieta,  with  the 
kneeling  donor,  Federigo  da  Montefeltro  (p.  480),  a  bronze  relief  by  Ver- 
rocchio,  of  Florence. 

To  the  left  of  the  egress  of  the  church  are  the  cloisters  of  the 
former  monastery  of  the  Carmini,  with  a  bas-relief  of  the  Virgin 
beside  the  entrance,  by  Arduino,  1340.  —  On  the  right  is  the  Scuola 
dei  Carmini,  of  the  17th  cent.,  with  five  ceiling-paintings  by  Tiepolo. 

We  may  now  proceed  to  San  Sebastiano,  crossing  the  Rio  di  San 
Barnaba,  to  the  S.,  and  then  taking  the  first  cross-street  (Calle 
Lunga)  to  the  right. 

San  Sebastiano  (PI.  C,  6),  erected  in  1506-18,  and  well  restored 
in  1867  et  seq.,  contains  excellent  works  (1555-65)  by  Paolo  Vero- 
nese, and  his,  tomb.  Open  1-4  (comp.  p.  287;  adm.  50  c.);  the 
nearest  steamboat-stations  are  the  Fondamenta  delle  Zattere  and 
the  Cotonificio  (p.  284). 

On  the  Right:  1st  altar,  St.  Nicholas,  painted  by  Titian  in  his  86th 
year  (1563) ;  2nd,  Madonna  with  saints,  a  small  picture  by  Paolo  Veronese ; 
4th,  Christ  on  the  Cross,  and  the  Maries,  by  P.  Veronese;  Monument  of 
Bishop  Livius  Podacatharus  (d.  1555),  by  Jae.  Sansovino.  —  Choir.  '-Altar- 
piece,  Madonna  in  glory,  below,  St.  Sebastian  and  four  other  saints,  on 
the  wall  to  the  right,  Martyrdom  of  St.  Sebastian,  to  the  left,  *Martyrdoni 
of  SS.  Mark  and  Marcellinus  (restored),  all  three  by  P.  Veronese.  In  the 
chapel  to  the  left  of  the  choir  is  a  fine  pavement  of  majolica  tiles  from 
Faenza  (1510).  —  Organ,  on  the  outside  of  the  folding  doors,  the  Puri- 
fication of  Mary,  on  the  inside,  the  Pool  of  Bethesda,  both  by  P.  Veronese. 
To  the  right,  the  bust  of  the  master  (d.  1588),  with  the  inscription  below 
it:  '■Paulo  Caliario  Veronensi pictori ,  naturae  aemulo,  artis  miraculo,  super- 
stiii  fatis,  fama  victiiro.^  In  front,  his  tomb.  —  Sacristt.  Ceiling-paintings 
by  Veronese  (1555),  Coronation  of  the  Virgin,  with  figures  of  the  four 
Evangelists.  —  Farther  on  in  the  church,  in  the  next  chapel  on  the  right: 
1st  altar.  Bust  of  the  Procurator  Marcantonio  Grimani  (d.  1565),  by  Al. 
Viltoria;  2nd  altar.  Baptism  of  Christ,  by  Paolo  Fcrowcc  (restored).  Beau- 
tiful ceiling-paintings  representing  the  history  of  Esther,  also  by  Paolo, 
aided  by  his  brother  Benedetto  Caliari. 

A  little  to  the  W.  is  the  Campo  di  Marte,  or  former  drilling- 
ground  (PI.  B,  5),  a  large  meadow  surrounded  with  trees.  Ad- 
jacent are  a  large  cotton-factory  ('cotonificio')  and  the  harbour- 
structures  at  the  Stazione  Marittima  (p.  292;  steamer,  see  p.  284). 


y.S.  Maria  deUa  Salute.         VENICE.  47.  Route.    339 

We  may  return  from  San  Sebastiano  by  tlie  Fondamenta  delle 
Zatxebe  (PI.  D,  E,  7),  skirting  tbe  Giudecca  Canal  (p.  341)  and 
affording  a  pretty  view  of  the  Redentore  (p.  341).  Tbe  church  of 
San  Trovaso  (PI.  E,  6),  near  this  quay,  contains  a  fine  altar-frontal 
in  the  style  of  Ant.  Rizzo  (right  transept),  and  three  paintings  by 
Jac.  Tintoretto :  Last  Supper,  Adoration  of  the  Magi,  and  Rejec- 
tion of  Joachim's  Sacrifice. 

This  church  stands  on  the  border-line  between  the  'Nicolotti'  and  the 
'Castellani',  the  two  factions  into  which  the  Venetians  are  divided  (see 
U.  F.  Brown  i  'Life  on  the  Lagoons').  The  father  and  godfather  of  a  child 
christened  here,  if  of  opposite  factions,  leave  the  church  by  different  doors. 

On  the  quay  itself  lie  the  Pal.  Giustiniani-Recanati  (No.  1402), 
■with  a  number  of  antique  works  in  marble,  including  a  fine  Attic 
funeral  relief,  and  the  church  of  I  Gesuati  or  Madonna  del  Rosario 
(PI.  E,  7),  built  in  1726-43  by  Giorgio  Massari.  The  ceiling  of 
the  church  is  adorned  with  fine  frescoes  by  Tiepolo,  representing 
the  institution  of  the  festival  of  the  rosary  (in  the  middle),  with 
a  vision  of  the  Madonna  and  the  glorification  of  St.  Dominic.  By 
the  3rd  altar  to  the  left  is  a  Crucifixion,  by  Jac.  Tintoretto,  and  by 
the  1st  altar  to  the  right  is  a  Madonna,  with  St.  Clara  and  two 
Dominican  nuns,  by  Tiepolo.  —  Close  by  are  two  steamer-stations, 
one  for  the  Piazzetta  and  one  for  the  Giudecca  (see  p.  284).  The 
street  to  the  right  of  the  church  (Rioterra  di  Sant'  Agnese)  leads 
to  the  Campo  della  Carit^  and  the  Academy  (p.  307). 

g.    From  the  Campo  della  Carit^  to  Santa  Maria  della  Salute. 
San  Giorgio  Maggiore.   Giudecca. 

From  the  Campo  della  Carita  (p.  307;  Accademia  steamboat 
station,  see  p.  284)  we  turn  to  the  left  into  the  Rioterra  di  Sant' 
Agnese  ;  here  we  turn  to  the  left  again  almost  immediately  into  the 
Calle  Nuova  di  Sant'  Agnese  and  then  go  straight  on  through  the 
Piscina  del  Fonier  and  the  CaUe  della  Chiesa  to  the  Fondamenta 
Venier.  From  the  end  of  the  last  we  proceed  to  the  left  through  the 
Calle  di  San  Cristoforo,  the  Calle  Barbaro,  and  the  Calle  del  Bastion 
to  the  Campo  di  San  Gregorio  with  the  Abbey  Church  of  that  name 
(p.  314) ;  thence  we  turn  to  the  right  througli  the  Calle  dell'  Ab- 
bazia  to  the  Rioterra  Catecumeni,  whence  the  Ponte  della  Salute 
leads  to  — 

*Saiita  Maria  della  Salute  (PI.  F,  6 ;  comp,  p.  287 ;  side-entrance 
to  the  left),  a  spacious  dome-covered  church.  It  lies  at  the  E.  ex- 
tremity of  the  Canal  Grande  and  was  erected  in  1631-56  by  Lon- 
ghena,  in  commemoration  of  the  plague  in  1630.  'Considering  the 
age  in  which  it  was  erected,  it  is  singularly  pure',  though  'extern- 
ally it  is  open  to  the  criticism  of  being  rather  too  overloaded  with 
decoration'  (Fergusson).  The  octagonal  interior,  with  an  ambulatory 
all  round,  is  very  handsome  and  contains  excellent  works  by  Titian 
(from  Santo  Spirito), 

22* 


340   Routed?.  VEMCE.         g.  S.  Giorgio  Magyiore. 

Chapels  on  the  Right:  1.  Presentation  in  the  Temple,  2.  As- 
sumption, 3.  Nativity  of  the  Virgin,  all  by  Luca  Giordano.  In  the  last 
Chapel  on  the  Left:  Bescent  of  the  Holy  Ghost,  by  Titian,  much  dark- 
ened by  age  (1543).  The  monolithic  columns  by  which  the  vaulting  of  the 
choir  is  supported  are  from  a  Roman  temple  at  Pola  in  Istria.  On  the 
high-altar,  the  Virgin  banishing  the  demons  of  the  plague,  a  group  in 
marble  by  Giusto  le  Court;  to  the  left,  a  large  candelabrum  in  bronze  by 
Andrea  d^Alessandro  da  Brescia  (1570),  of  admirable  v^orkmanship.  On  the 
ceiling  at  the  back  of  the  altar,  eight  Medallions  with  portraits  of  the 
evangelists  and  fathers  of  the  church  by  Titian ;  the  large  pictures  by 
Salviati.  —  Odtek  Sacristy  :  Pieta,  a  relief  by  Tullio  Lomhardi  (?) ;  kneel- 
ing statue  of  Doge  Agostino  Barbarigo,  from  his  tomb.  —  SAcnisTf:  end- 
wall,  to  the  right,  SS.  Rochus,  Jerome,  and  Sebastian  by  Girolamo  da 
Treviso;  on  the  window-wall :  Marco  Basaiti,  St.  Sebastian;  Tintoretto,  Mar- 
riage at  Cana  (1561).  Over  the  altar  :  Titian,  'St.  Mark  and  four  other  saints 
(painted  in  1512  for  the  church  of  Santo  Spirito;  still  reminiscent  of 
Giorgione  and  Palma),  distinguished  by  its  fine  colouring  and  the  noble 
heads  of  the  saints ;  adjacent,  to  the  left,  Madonna  and  saints,  by  Cristo- 
foro  da  Parma,  1495.  *  Ceiling-paintings:  Cain  and  Abel,  Abraham  and 
Isaac,  David  and  Goliath,  by  Titian,  painted  about  1543  for  Santo  Spirito 
under  the  influence  of  Correggio. 

Between  this  church  and  the  Dogana  di  Mare  (mentioned  at 
p.  3141  is  the  Seminario  Fatriarcale  (PI.  G,  6;  huilt  by  Longhena 
in  1670),  containing  a  few  sculptures  and  the  Oalleria  Manfredini, 
a  small  collection  of  pictures  (adm.,  see  p.  288). 

The  Sculpture  Collection  occupies  the  gronndfloor  (on  the  N.  side  of 
the  court).  On  the  entrance-wall  of  the  Oratory  is  the  tomb  of  Jac.  San- 
sovino,  formerly  in  San  Geminiano  (p.  293),  surmounted  by  a  terracotta 
bust  of  the  painter  by  Al.  Vittoria.  The  oratory  also  contains  an  elegant 
tabernacle  by  Tullio  Lombardi.  On  the  altar  of  the  adjoining  Sackisty  is 
a  relief  of  the  Adoration  of  the  Child,  by  the  MaHer  of  San  Trovaso  (p.  339), 
with  high-reliefs  of  St.  Catharine  (1.)  and  St.  Cecilia  (r.),  by  Ant.  Lombardi. 

The  Picture  Collection  is  on  the  first  floor.  Opposite  the  entrance, 
Giorgione,  Apollo  and  Daphne  (retouched)  ;  to  the  left,  Beccafumi  (ascribed 
to  Baldassare  Peruzzi),  Penelope;  to  the  right,  below,  Albertinelli  {^BCvihtA 
to  Fra  Bartolomeo),  Madonna;  opposite  the  windows.  Holy  Family  with 
an  angel,  a  copy,  with  variations,  by  Marco  d'' Oggiono  of  Leon,  da  Vinci's 
Madonna  of  the  Grotto,  in  the  Louvre ;  below,  Filippino  Lippi,  Christ  and 
Mary  Blagdalen  (on  the  left),  and  the  Samaritan  Woman  (on  the  right).  — 
The  refectory  contains  a  fresco  of  Christ  at  Emmaus,  by  Tiepolo. 

We  may  now  return  across  the  Grand  Canal  (traghetto,  comp. 
p.  28B)  or  proceed  to  the  S.W.  to  the  church  of  Santo  Spirito 
( PL  F,  7),  which  contains  a  fine  painting  of  Christ  between  SS.  Eras- 
mus and  Secundus,  by  Buonconsiglio  (1534  j  over  the  side-portal, 
to  the  right).  —  A  little  to  the  N.W.  is  the  Fondamenta  delle  Zattere, 
with  the  church  of  the  Oesuati  (see  p.  339). 

Opposite  the  Piazzetta  to  the  S. ,  and  S.E.  of  the  Dogana  di 
Mare  (about  1/4  IvI.  from  both  these  points),  is  the  small  island  of 
San  Qiorgio  Maggiore  (steamboat-station,  p.  284),  with  — 

*San  Giorgio  Maggiore  (PL  H,  1,  7),  a  cruciform  church  with 
a  dome,  and  apses  terminating  the  transepts,  begun  by  Paltadio 
in  1565.  The  facade,  with  only  one  order  of  columns  (comp,  p.  290), 
was  added  by  Scamozzi  in  1602-10. 

The  *lNTiiRioR  (when  closed,  ring  the  bell)  is  very  beautiful.  Over  the 
door,  a  portrait  of  Pope  Pius  VII.,  who  was  elected  by  a  conclave  of  car- 


/(.  Excursions.  VENICE.  47.  Route.    341 

dinals  held  here  on  14th  March,  1800.  Over  the  2nd  altar  to  the  right, 
Crucifix  in  wood,  by  Michelotzo;  3rd,  Martyrdom  of  SS.  Cosmas  and  Da- 
mianns;  4th  (in  the  transept).  Coronation  of  the  Virgin,  the  two  last  by 
Tintoretto  and  both,  like  his  other  works  in  this  church,  'daubs  redound- 
ing to  the  painter's  everlasting  shame'  (Burckhardt).  —  Choir.  In  front, 
two  brass  candelabra,  by  Niccolelto  Eoccaiagliata  (1596);  (r.)  Last  Supper, 
(1.)  Gathering  the  Manna,  both  by  Tintoretto;  on  the  high-altar,  a  group  in 
bronze  by  Qirolamo  Campagna,  representing  the  Saviour  on  a  gilded  globe 
borne  by  the  four  Evangelists,  beside  them,  two  angels.  The  reliefs  on  the 
sumptuous  baroque  "Choir  Stalls  represent  scenes  from  the  life  of  St.  Be- 
nedict, by  Gasp.  Oatti;  the  lectern  was  executed  by  a  Flemish  artist,  Al- 
berto de  Brule  (1598).  —  At  the  altar  to  the  left  of  the  choir.  Resur- 
rection, by  Tintoretto,  with  the  family  of  the  Morosini.  —  Left  Transept: 
St.  Stephen,   also  by  Tintoretto. 

An  easy  ascent  on  32  inclined  planes  leads  from  the  choir  to 
the  summit  of  the  Campanile  (before  ascending,  enquire  whether 
the  door  at  the  top  is  open),  which  commands  an  extensive  *View 
of  the  city,  the  lagoons  with  their  rows  of  piles  (p.  292),  part  of  tha 
Adriatic,  tlie  Alps  on  the  N.,  and  the  Euganean  Hills  (p.  376)  to 
the  W. ;  tlie  view  is  particularly  fine  in  the  early  morning  or  shortly 
hefore  sunset  in  clear  weather.  —  The  Dominican  monastery,  to 
which  the  church  belonged,  is  now  an  artillery  barrack  and  arsenal ; 
it  possesses  a  fine  staircase  by  Bald.  Longhena  (1644). 

The  adjoining  island  of  Giudecca  (steamboat,  seep.  284;  return- 
ing in  about  half-an-hour  on  the  way  back)  is  separated  from  the 
mainland  by  the  Qiudecca  Canal,  which  is  1  M.  long  and  nearly 
1/4  M.  wide  at  its  widest  part. 

On  this  island  stands  the  formerly  Franciscan  church  of  the  — 

*Redeiitore  (^St.  Saviour's;  PI.  F,  8),  begun  in  1577  by  Palladio 
but  not  finished  until  1592,  a  much  vaunted  edifice,  chiefly  in- 
teresting in  the  interior. 

On  the  Right:  3rd  Chapel,  Scourging,  Tintoretto.  On  the  Left:  1st, 
Ascension,  Tintoretto.  In  front  of  the  high-altar,  Christ  bearing  the  Cross, 
at  the  back,  a  Descent  from  the  Cross,  reliefs  in  marble  by  Gius.  Mazza; 
above,  'Christ  on  the  Cross,  with  SS.  Mark  and  Francis,  fine  bronze  figures 
by  Campagna.  —  The  Sacristy  contains  Madonnas  by  Alvise  Vivarini, 
Bissolo,  and  others  (covered  by  curtains). 

On  the  Festa  del  Redentore  (third  Sun.  in  July)  a  bridge-of-boats  is  formed 
across  the  Giudecca  to  this  church  and  a  water- festival  is  held  all  night  long. 

Visitors  who  have  not  yet  seen  the  church  of  San  Sebastiano 
(p.  338)  may  here  take  one  of  the  steamboats  mentioned  at  p.  284 
to  the  Fondamenta  delle  Zattere. 

h.  Excursions. 
1.  A  visit  to  the  Lido,  which  is  now  the  most  fashionable  bath- 
ing-resort in  Italy,  is  the  favourite  excursion  from  Venice.  The 
passage  across  is  specially  beautiful  early  in  the  morning  or  shortly 
before  sunset.  Steamboat,  see  p.  284;  the  last  steamboat  leaves  the 
Lido  in  winter  a  little  before  sunset  (previous  enquiries  advisable). 
A  gondola  takes  at  least  '/2l^r.  (two  gondoliers  desirable  at  all  times 
and  necessary  in  wind). 


342   Route  47. 


VENICE. 


h.  Excursions. 


From  Santa  Maria  Eiisabetta,  the  landing-place  (hotel-restau- 
rants, PI.  2,  3,  4,  see  p.  282),  a  road  (tramway)  runs  across  the  island 
in  8  min.  to  the  bathing-beach,  which  is  covered  in  summer  with 
bathing-boxes.  The  sea-baths  at  the  Stabilimento  dei  Bagni  (p.  286) 
are  frequented  by  Italians  in  summer,  but  in  spring  and  autumn 
almost  exclusively  by  foreigners.    A  pleasant  walk^along  the  beach 


1.  Gr.  Hot.  des  Bains. 

2.  Gr.  Hot.  Hungaria. 

3.  Gr.  Hot.  Lido. 

4.  Hot. -Ps.  Ortolanella. 

5.  Alb. -Pens.  Laguna. 

6.  Hot.  Villa  Eegina. 


CttTittfrrtT 


may  be  taken  to  the  S.W.,  past  the  Ospizio  Marino  and  the  dis- 
mantled Forte  Quattro  Fontane,  to  (IV4  It.)  Malamocco  (p.  345). 

The  N.  end  of  the  Lido  (also  connected  with  Venice  by  steamer; 
line  No.  3,  p.  285),  is  defended  by  the  Forte  SanNiccolb  and  (oppo- 
site, to  the  N.W.,  beyond  the  Porto  dl  Lido,  p.  293)  the  former  Forte 
Sant'  Andrea  di  Lido,  erected  in  1544  by  Sanmicheli,  as  architect  of 
the  Republic.  Within  the  fort  of  S.  Niccolo  is  the  Old  Protestant 
Cemetery,  with  the  grave  of  Sir  Francis  Vincent,  last  British  ambas- 
sador but  one  to  the  Republic  of  Venice,  and  nearer  the  Baths  is  the 
Jewish  burial-ground. 

2.  Lagoon  steamers  (No.  1;  p.  284)  ply  from  the  Fondamenta 
Nuove  (PI.  H,  3)  to  San  Michele  and  Murano,  II/2  M.  to  the  N.K. 
of  Venice.  On  the  former  island,  which  has  served  as  a  cemetery 
(Cimitero)  since  1813,  stands  the  Camaldulensian  church  otS.  Michele, 
built  by  More  Coducci  in  1469-78,  and  next  to  San  Giobbe  (p.  320) 
and  San  Zaccaria  (p.  325)  the  oldest  Renaissance  church  in  Venice. 
To  the  left  of  the  vestibule  is  the  tasteful  little  Cappella  Emiliana, 


h.  Excursions. 


VENICE.  47.  Route.    343 


erected  by  Gugl.  Bergamasco  in  1527-43,  with  three  admirable  re- 
liefs in  the  style  of  Andrea  Sansovino  (by  Giov.  Ant.  Aprile  the  Lom- 
bard?), and  in  the  vestibule  Era  Paolo  Sarpi's  Tomb  (see  Robert- 
son's 'Era  Paolo  Sarpi' ).  0.  P.  R.  James  (d.  1860),  the  novelist, 
Eugene  Schuyler  (d.  1890),  and  Rawdon  Brown  are  buried  in  the 
Protestant  Cemetery. 

Murano,  a  small  island  -with  5000  inhab.,  has  been,  since  the 
14th  cent.,  the  seat  of  the  Venetian  Glass  Industry,  the  followers 
of  which  were  held  in  so  high  esteem  that  Murano  possessed  its 
own  'Golden  Book'  of  descent,  and  minted  its  own  coins.  Its  citizens 
were  eligible  for  the  highest  posts  in  the  Republic,  and  after  137G 
the  children  of  a  Venetian  patrician  and  the  daughter  of  a  glass- 
manufacturer  were  able  to  inherit  their  father's  rank. 

From  the  landing-place  of  the  steamboat  we  proceed  in  a  straight 
direction  and  soon  reach  San  Pibtro  Martiee,  a  simple  and  spacious 
basilica  of  1509.  Between  the  2nd  and  3rd  altars  on  the  right  is  a 
large  Madonna  with  saints  and  angels  by  Oiov.  Bellini  (1488;  much 
injured  and  retouched) ;  near  the  door  of  the  sacristy,  to  the  left,  an 
Assumption  by  Marco  Basaiii(?).  —  We  now  cross  the  main  canal 
by  the  Ponte  Vivarini  and  follow  the  Eondamenta  Cavour  to  the 
right,  with  the  canal  on  our  left,  passing  the  Museum  (see  below), 
to  the  — 

Cathedral  of  Santi  Maria  e  Donato,  a  building  of  very  an- 
cient origin,  said  to  have  been  completed  about  970,  but  largely 
rebuilt  since  1100  and  thoroughly  restored  in  1858-73,  with  a  fine 
choir. 

The  Interior  ia  in  the  form  of  a  basilica  with  nave  and  aisles,  with 
transept  resting  ou  piers.  The  open  roof  is  borne  by  columns  of  Greek 
marble.  The  mosaic  pavement,  which  resembles  that  of  St.  Mark's,  bears 
the  (late  1140.  In  the  left  aisle,  over  the  door,  Mjidonua  with  saints  and 
angels,  by  Lazzaro  Sehastiani  (1484);  to  the  left,  coloured  relief  in  wood 
of  St.  Donatus  (1310J;  in  the  more  elevated  chupel  adjoining  is  a  Roman 
tombstone  of  the  family  Acilia,  formerly  used  as  a  font.  In  the  apse,  a 
Byzantine  mosaic  of  the  interceding  Madonna  (12th  cent.) ;  below  it,  fres- 
coes of  the  16th  century. 

The  Museo  Civico  in  the  Municipio  presents  an  interesting  ex- 
hibition of  the  products  of  the  celebrated  glass-industry  from  the 
15th  cent,  onward  (adm.  ^/^(t.). 

The  Venetian  Glass  Industry,  of  very  ancient  origin,  was  first  estab- 
liahed  by  Byzantine  glass- workers  during  the  Crusades.  The  first  glass- 
foundries  were  within  Venice  itself.  After  1289,  however,  their  number 
was  gradually  reduced,  owing,  it  is  said,  to  the  danger  of  fire  and  the 
disagreeable  efl'ects  of  the  smoke;  and  Murano,  where  a  furnace  is  related 
to  have  been  in  operalion  in  1265,  ultimately  became  Ihe  sole  seat  of  the 
manufacture,  which  attained  its  zenith  in  the  15-i6th  centuries.  In  the 
18th  cent.,  owing  to  the  taste  for  the  harder  glass  of  England  and  Bohemia 
and  the  invention  of  the  art  of  making  large  mirrors  in  France,  the  Ve- 
netian glass-industry  declined  so  much  that  many  of  its  old  art-secrets  were 
lost,  but  since  1859  it  has  enjoyed  renewed  prosperity,  mainly  owing  to  the 
discoveries  and  efforts  of  Signer  A.  Salviati  (ISlB-iJO).  Perhaps  the  must 
beautiful  of  the  objects  produced  here  are  the  extraordinarily  thin  and 
fragile  but  richly-decorated  vessels,  some  coloured  and  others  plain,  which 
assume  the  most  fantastic  shapes.  These  were  admired  in  the  days  of  the 


344   Route  47.  VENICE. 

Renaissance  and  they  are  made  to  the  present  day.  Chandeliers  and  mir- 
rors, wreathed  with  llowers  and  foliage,  are  also  produced  here ;  and  the 
mosaic-painters,  for  whom  the  church  of  St.  Hark  has  been  a  continuous 
school  for  centuries,  once  more  receive  commissions  from  all  parts  of 
Europe.  The  chief  firms  are  mentioned  at  p.  286.  The  attendance  of 
gondoliers  or  guides  should  be  emphatically  declined  by  visitors  to  the 
factories.  Admission  to  the  larger  factories  sometimes  requires  a  per- 
messo,  to  be  obtained  in  Venice.  The  factories  are,  of  course,  closed  on 
Sundays  and  holidays. 

3.  An  ExcxjESiON  to  Bueano  and  Tokcello,  situated  on  two 
islands  about  6  M.  to  the  N.W.  of  Venice,  is  interesting  to  students 
of  art.  In  addition  to  the  regular  lagoon-steamers  (No.  2 ;  p.  285), 
an  excursion  -  steamer  plies  daily  (except  Sun.)  to  both  islands, 
starting  from  the  Ponte  del  Vin,  on  the  Riva  degli  Schiavoni  at 
1.30  p.m.  (return-fare  2  fr.),  allowing  ample  time  to  visit  the 
objects  of  interest.  —  At  Burano  {Leone  Coronato,  de'j.  2  fr.),  a 
flshing-town  with  5100  inhab.,  the  excursionists  are  taken  to  see 
the  interesting  Royal  School  of  Lace-making  (p.  286),  which  em- 
ploys about  400  girls.    The  steamer  then  goes  on  to  — 

Torcello,  which  now  belongs  to  Burano  and  consists  of  a  few 
small  houses  and  two  well-preserved  churches.  The  *Cathedeal 
OF  Santa  Maria,  founded  in  the  7th  cent,  and  rebuilt  in  864  and 
(partly)  1008,  is  a  basilica  in  the  early-Christian  style,  supported 
by  columns. 

Interior.  On  the  W.  wall  are  six  rows  of  mosaics  of  the  i2th  cent., 
representing  the  Last  Judgment,  Christ  in  Hades,  and  a  Crucifixion  group, 
recently  restored.  On  the  choir-screen  and  on  the  pulpit-steps  are  orna- 
ments and  figures  in  low  relief.  The  principal  object  of  interest  is  the 
ancient  arrangement  of  the  semicircular  seats  of  the  priests  on  the  tribuna 
(restored  in  1890),  rising  in  steps  and  commanded  by  the  lofty  episcopal 
throne  in  the  centre.  Above ,  a  Madonna  and  the  Apostles  in  Byzantine 
mosaic  (12th  cent.).  Similar  mosaics  of  Christ  and  the  Apostles,  etc.,  in 
the  right  apse.     Below  is  an  ancient  crypt. 

The  ruins  of  an  octagonal  Baptistery  of  1008  adjoin  the  cath- 
edral. —  The  top  of  the  Campanile  commands  an  admirable  view  of 
the  lagoons  and  the  sea.  —  Santa  Fosca,  built  on  a  Byzantine 
model  and  dating  in  its  present  form  from  the  12th  cent.,  is  ex- 
ternally octagonal  (interior  intended  for  a  dome,  but  at  present 
covered  with  a  flat  roof)  and  is  of  interest  for  architects.  On  five 
sides  it  is  enclosed  by  an  arcade  supported  by  sixteen  columns  and 
four  corner  -  pillars.  —  The  antiquities  discovered  in  Torcello  have 
been  collected  in  two  small  Museums. 

4.  San  L^zzaro,  the  Armenian  Mechitarist  monastery  (founded 
in  1716)  on  the  island  of  the  same  name,  2  M.  to  the  S.  of  Venice, 
contains  a  considerable  Oriental  library  (ca.  30,000  vols,  and  ca. 
2000  ancient  Armenian  MSS.),  and  a  printing-office  (shown  by  a 
monk;  fee  to  the  door-keeper).  Byron  studied  Armenian  here  in 
1816.  On  the  way  to  S.  Lazzaro  we  pass  the  island  San  Servolo,  with 
the  provincial  lunatic  asylum  (Manlcomio).  S.  Lazzaro  is  more 
easily  visited  from  the  Lido  (gondola  with  one  rower  there  and 


TREVISO.  48.  Route.    345 

back  172  fr.,  bargaining  necessary;  advisable  only  when  the  tide 
is  coming  in). 

5.  A  Trip  to  CmoGGiA  (18'/2  ^0  ^^Y  ^e  recommended  in  clear 
weather.  —  The  lagoon  steamer  (No.  6;  p.  285)  passes  the  islands 
of  S.  Servolo  and  S.  Lazzaro  (p.  344)  and  touches  at  (5  M.)  Mala- 
mocco  (p.  342).  At  (71/2  M.)  Alberoni  we  approach  the  Channel  of 
Malamocco  (p.  293) ,  which  is  defended  by  two  forts ,  and  farther 
on  we  skirt  the  inner  side  of  the  narrow  Litiorale  di  Pellestrina. 
10  M.  .San  Ptetro  in  Volta.  Beyond  (I3V2  M.)  Pellestrina  (Stabili- 
mento  Maddalena,  a  hotel  with  good  sea-baths)  the  Murazzi  (comp. 
p.  293)  lie  to  the  left.  A  little  farther  on  we  obtain  a  view,  to  the 
left,  of  the  sea,  enlivened  with  the  coloured  sails  of  the  numerous 
small  craft  of  Chioggia. 

I81/2  M.  Chioggisi  (Alb.-Ristor.  al  Oohbo ;  Ristor.  Croce  di  Malta), 
an  ancient  and  picturesque  town  at  the  end  of  the  lagoons,  with 
21,400  inhab.,  mostly  employed  in  the  fisheries,  was  founded  be- 
fore Venice,  by  which  it  was  soon  conquered.  During  the  war 
■with  Genoa  it  was  taken  by  the  Genoese  (1379),  but  recovered  by 
the  Venetians  the  following  year  (comp.  p.  289).  The  inhabitants 
have  always  differed  materially  in  language  and  customs  from  the 
other  inhabitants  of  the  lagoon- districts ;  but  the  quaint  costume  of 
the  women  is  now  to  be  seen  only  on  a  few  feast-days.  The  church 
of  San  Domenico  contains  Vitt.  Carpaccio's  last  work,  St.  Paul 
(1520).  —  Opposite  Chioggia,  reached  by  steam-ferry  in  summer, 
is  the  small  village  of  Sottomarina  (Stabilimento  Balueare  Mar- 
gherita,  very  fair),  also  protected  from  the  sea  by  murazzi.  —  Rail- 
way to  Roviyo,  see  p.  376;  the  station  lies  1  M,  from  the  steam- 
boat-pier. 

48.  From  Venice  to  Trieste. 

a.  Vifi.  Treviso  and  TJdine. 

140  M.  Railway  in  53/4-83/4  hrs.  (fares  23  fr.  80,  16  fr.  90  c.,  11  fr.; 
express  27  fr.  40,  19  fr.  55  c).  The  Italian  custom-house  is  at  Udine,  the 
Austrian  at  Conn&ni.  —  For  the  Steamek  Limes  to  Trieste,  see  p.  285. 

From  Venice  to  (5  M.)  Mestre ,  see  p.  269.  The  Trieste  line 
diverges  here  to  the  N.  from  that  to  Padua.    12  M.  Mogliano. 

I8V2  M-  Treviso.  —  The  Railway  Station  (PI.  D,  4;  Restaurant)  lies 
to  the  S.  of  the  town,  1/4  M.  from  the  hotels. 

Hotels.  Stella  d'Oko  (PI.  a;  1),  3),  Via  Vittorio  Emanuele,  with 
good  trattoria,  R.  2-2'/2  fr.,  omn.  30  c.,  good;  ItoMA  (PI.  b;  C,  3),  same 
street;  Ceeva  (PI.  c;  D,  3),  Vicolo  Venti  Settembre,  with  small  garden, 
R.  I'/z  fr.  —  Cafes.     C.  Roma,  C.  del  Commercio,  both  Piaz/.a  del  Signori. 

Cabs.  Per  drive  2/4  fr. ;  per  1/2  hr.  1,  per  hr.  1*/?  fr.  (26  c.  more  at 
night).    Trunk  25  c. 

Treviso  (33  ft.),  with  16,900  inhab.,  the  capital  of  the  province 
of  its  own  name  aud  the  see  of  a  bishop,  lies  on  the  small  river 
<S(7e,  at  its  confluence  with  the  Botteniga,   which  is  mentioned  by 


346   Route  dS.  TREVISO.  From  Venice 

Dante  (Paradise,  IX,  43)  under  the  name  of  Cagnan.  Under  the 
name  of  Tarvisium  Treviso  was  a  place  of  some  importance  in  the 
Roman  era,  and  from  1339  onwards  it  belonged  to  Venice.  It  was 
the  birthplace  of  three  distinguished  Venetian  painters,  Lorenzo 
Lotto,  Rocco  Marconi,  and  Paris  Bordone.  Some  of  the  narrow, 
winding  streets  are  flanked  with  arcades,  and  the  facades  of  many 
houses  show  traces  of  ancient  frescoes.  The  city-walls,  bordered  by 
the  Sile  and  several  canals,  were  constructed  by  Fra  Giocondo  (p.  245) 
at  the  end  of  the  16th  cent,  and  are  still  in  good  preservation. 

Leaving  the  Railway  Station  (PL  D,  4),  we  cross  the  Sile  bridge 
and  reach  the  Via  Vittokio  Emanuele  (PI.  C,  D,  B),  with  the  Theatre. 
—  Hence  we  pass  to  the  N.,  through  the  Via  Venti  Settembre,  to 
the  picturesque  Piazza  dei  Signoki  (PI.  D,  2),  in  which  are  the 
Palazzo  Provinziale  (Prefecture),  recently  restored  by  Camillo  Boito, 
and  the  Pal.  dei  Trecento  (1184),  restored  in  1900  by  Giulio  Nivi. 

In  the  building  beside  the  flre-station  (Pompieri )  is  the  small 
Galleria  Comunale,  containing  a  few  good  pictures  of  the  Vene- 
tian school  (ring  at  the  entrance). 

Room  I.  No.  *20.  Lor.  Lotto,  A  Dominican  (1526) ;  21.  Franc.  Quardi, 
San  Giorgio  Maggiore  at  Venice ;  58.  Jac.  Tinioretlo,  Senator  Bart.  Cappello.  — 
Room  II.  Modei-n  works.  —  Room  III.  No.  48.  Giov.  Bellini,  Madonna  (studio- 
piece;  retouched);  44.  P.  Bordone  (not  Palma  Vecchio),  Holy  Family. 

From  the  N.W.  corner  of  the  Piazza  dei  Signori  the  Via  Cal- 
maggiore  leads  to  the  Cathedral  of  San  Pietro  (PI.  C,  2),  begun  in 
the  Renaissance  style  hy  Pietro  Lombardi  in  1485-1506,  but  left 
unfinished.    It  has  five  domes,  one  behind  another. 

INTERIOH.  By  the  lat  pillar  to  the  left,  Statue  of  St.  Sebastian,  by 
Lor.  Bregno  (1515).  By  the  2nd  altar  to  the  right,  *Adoration  of  the  Shep- 
herds, by  Paris  Bordone;  opposite,  by  the  2nd  pillar,  Visitation,  in  high- 
relief,  by  Ant.  Lomhardi  (1) ;  by  the  3rd  pillar,  Statue  of  the  Madonna  in 
the  style  of  Lor.  Bregno.  —  The  elegant  Cappella  del  Sagramento,  to  the 
left  of  the  choir,  is  by  Ant.  Lombardi  (1501-3)  and  contains  sculptures  by 
the  brothers  Lor.  and  Batt.  Bregno.  —  In  the  choir  are  a  high-altar  in  the 
baroque  style  and  four  large  frescoes  hj  Seitz  (1880-83);  to  the  left  is  the 
tomb  of  Bishop  Zanetto  (d.  1486),  by  the  Lombardi.  —  The  Cappella  Mal- 
chiostro,  the  large  chapel  to  the  right  of  the  choir,  contains  an  'Annun- 
ciation by  Titian  (about  1517),  a  coloured  terracotta  bust  of  the  founder, 
Broccardo  Malchiostro  (1519) ,  and  good  frescoes  by  Pordenone  and  Pom- 
ponio  Amalteo  (1519-20):  on  the  walls.  Adoration  of  the  Magi,  Visitation, 
etc.;  in  the  dome,  God  the  Father  with  angels  (showing  the  influence  of 
Michael  Angelo's  Sistine  frescoes).  In  the  ante-chapel,  on  the  left  wall,  a 
Madonna  by  Girol.  da  Treviso  (1487).  —  The  sacristy  contains  a  painting 
of  a  procession  in  the  Piazza  del  Duomo,  by  Francesco  de^  Dominicis,  a  pupil 
of  Paris  Bordone. 

From  the  S.W.  angle  of  the  Piazza  del  Duomo  the  Via  Riccati 
leads  to  the  Borgo  Cavour,  in  which  are  the  Library,  which  is  rich 
in  old  MSS.,  and  the  unimportant  Museo  Civico,  with  frescoes  of 
the  legend  of  St.  Ursula,  by  Tommaso  daModena,  some  sculptures, 
etc.  (open  on  Sun.,  12-3,  for  strangers  also  at  other  times ;  key  at 
the  Asilo  Infantile). 

The  street  ends  at  the  Porta  Cavour  (1617),  just  before  which 
we  turn  to  the  left,  and  follow  the  Via  della  Mura  di  San  Teonisto 


lo  Trieste.  BELLUNO.  48.  Route.    347 

to  the  Dominican  church  of  San  Niccolo  (PI,  B,  3j,  a  large  Gothic 
edifice  with  rouml  pillars  and  a  curious  wooden  roof  (comp.  Santo 
Stefano,  p.  306;  restored). 

Inteeiok.  The  high-altar-piece  is  a  Madonna  enthroned,  by  Fra  Marco 
Pensabeii  and /Sai'oWo,  in  a  rich  Renaissance  frame  (1521;  covered).  To  the 
left  is  the  tomb  of  Senator  Onigo  (d.  1490),  by  the  Lombai-di  (?),  with  a 
painted  background  erroneously  attributed  to  Gioi>.  Bellini.  —  In  the  side- 
chapel  to  the  right,  Christ  and  the  Doubting  Thomas,  with  six  portraits 
of  donors  below ,  a  youthful  work  of  Sebastiano  del  Piombo  (?).  In  this 
chapel  and  on  several  of  the  piers  are  ancient  frescoes  by  Tominaso  da 
Modena  and  others  (1352). 

The  church  of  Santa  Maria  Maddalena  (PL  E,  1)  contains  pic- 
tures by  P.  Veronese.  In  Santa  Maria  Maggiore  (PI.  F,  2)  is  the 
tomb  of  the  Venetian  condottiere,  Mercurio  Bua,  with  sculptures  by 
Bambaia  (p.  133).  —  A  pleasant  walk  may  be  taken  along  the 
Riviera  Garibaldi  (PL  E,  3),  skirting  the  left  bank  of  the  rapid  Sile. 
—  The  Via  delle  Mura,  beginning  at  the  handsome  Porta  Mazzini 
(1618;  PL  E,  1)  and  following  the  N.  ramparts,  commands  a  good 
Alpine  view. 

Feom  Tkeviso  to  BELLnso,  531/2  M.,  railway  in  21/4-3^4  hrs.  (fares  10  fr., 
7  fr.,  4  fr.  50  c.,  express  11  fr.,  7  fr.  70c.,  5  Ir.).  —  I2J/2  M.  Montebelluna 
(495  ft.),  on  a  spur  of  the  Alps,  is  the  junction  of  a  branch-line  to  Castel- 
franco  and  Camposampiero  (p.  2S0).  —  171/2  M.  Comuda  (535  ft. ;  Alb.  alia 
Posta ;  carr.  at  the  station)  lies  2  M.  to  the  N.E.  of  Blaser  (p.  279),  the 
first  village  on  the  highroad  to  Bassano  (p.  280).  By  proceeding  for  10  min. 
along  the  road  from  Cornuda  to  Feltre,  and  then  ascending  the  hill  to 
the  left,  beside  a  shrine,  for  1/2  hr.,  we  reach  the  Madonna  della  Rocca, 
from  which  there  is  a  splendid  view.  —  Beyond  Cornuda  we  skirt  the 
right  bank  of  the  Piave  through  the  foothills  of  the  Alps.  —  34  M.  Feltre 
(855-1075  ft.;  Albergo  Doriguzti,  Tre  Corone,  both  very  fair;  Stella  d'Oro), 
a  town  of  5500  inhab.,  is  the  Feltria  of  the  ancients.  The  picturesque  old 
town,  situated  on  a  hill,  contains  the  modern  Palazzo  Ouarnieri,  a  Vene- 
tian Gothic  edifice.  Fine  view  from  the  half-ruined  Castello  (gratuity).  — 
We  now  proceed  to  the  N.E.  through  the  fertile  valley  ol  the  Piave. 

531/2  M.  Belluno  (1285  ft. ;  'IlOt.  des  Alpes,  R.  from  11/2,  B.  I'/i,  pens, 
from  7  fr. ;  Bdl.  Belluno,  R.  from  IV2  fr. ;  Vappello,  E.  3,  pens.  8  fr.,  very 
fair),  the  see  of  a  bishop  and  capital  of  a  pmvince,  with  6900  inhab.,  is 
situated  on  a  hill  between  the  Ardo  and  the  Piave,  which  here  unite.  The 
Bellnnum  of  the  Romans  and  afterwards  owned  by  the  Carrara  (1359  et  seq.) 
and  Milan  (13S81404),  it  subsequently  passed  under  the  sway  of  Venice  and 
presents  all  the  features  of  a  Venetian  town.  The  Cathedral,  erected  after 
1517  from  the  designs  of  TuUio  Lombard!,  was  injured  by  an  earth- 
quake in  1873,  but  has  been  restored.  The  facade  is  unfinished.  It  con- 
tains several  good  altar-pieces  by  Andrea  Schiavone,  Jac.  Bassano ,  and 
others.  The  campanile  (217  ft.  high),  built  by  Fil.  Juvara  in  1732,  com- 
mands a  beautiful  prospect.  In  the  Piazza  del  Duomo  stand  also  the 
Palazzo  dei  Rettori  (now  the  Prefecture),  a  fine  early-Renaissance  building 
of  1496  by  Giov.  Candi  (p.  3U6);  the  nuidern  Gothic  Municipio  (1838);  and 
the  Miiseo  Civico,  with  a  collection  of  paintings,  bronzes,  coins,  objects  of 
natural  history,  etc.  An  antique  earcopliagus  adorns  the  .small  piazza  in 
front  of  the  Gothic  church   of  iSanto  Slefano  (1180-86). 

About  8','2  M.  to  the  E.  (omn.  twice  daily)  is  the  hydropathic  of  Vena 
d'Oro  (la.  1640  ft. ;  open  1st  June  to  15th  Oct.).  —  The  'Colle  Visentiit 
(5790  ft.;  t'apanna  Budden),  5  hrs.  to  the  S.li.  of  Belluno,  commands  a 
magnificent  view  of  the  Dolomites  and  the  mountains  of  Cadore  and  of 
the  nearer  Alps  as  far  as  the  Monti  Lessini  near  Verona.  In  clear  weather 
Padua,  Treviso,  and  Venice  are  visible  in  the  wide  Venetian  plain,  with 
the  sea  in  the  distance. 


348   Route  48.  CONEGLIANO.  From  Venice 

In  the  valley  of  the  Piave,  about  27V2  M.  above  Belluno,  and  reached 
thence  via  Longarone  (1555  ft. ;  Posta)  and  Pevavolo  (1745  ft. ;  Corona  d'Oro, 
■well  spoken  of),  lies  Pieve  di  Cadore  (2885  ft. ;  H6t.  Marmarole,  new ;  Pro- 
ffresso,  and  others),  the  birthplace  of  Titian  (b.  1477),  of  whom  a  statue  was 
erected  here  in  1880.  The  museum  contains  his  patent  of  nobility  of 
1533  (p.  291).    Comp.  Baedeker^i  Eastern  Alps. 

Railway  from  Treviso  to  Castel/ranco,  Citiadella,  Vicema,  a,jii  Bassano, 
see  pp.  279,  280.  —  A  branch-line  also  runs  from  Treviso  to  (2IV2  M.)  Motla 
di  Livenza. 

Beyond  (271/2  M.)  Spresiano  (183  ft.)  the  train  approaches  the 
Venetian  Alps,  which  it  skirts  as  far  as  Sacile.  The  lofty  Friulian 
Mts.  continue  in  sight  as  far  as  Monfalcone  (p.  351).  The  Piave  is 
crossed.  —  311/2  M.  Susegana.  The  village,  the  church  of  which 
contains  a  good  altar-piece  by  Pordenone,  lies  IY2  M.  to  the  W., 
on  the  road  from  Treviso  to  Conegliano.  It  is  commanded  by  the 
castle  of  Collalto,  the  church  of  which  (San  Salvatore)  is  adorned 
with  mural  paintings  of  the  14th  cent,  and  with  line  frescoes  by 
Pordenone  (ca.  1508-13). 

351/2  M.  Conegliano  (203  ft. ;  Alb.  e  Trait.  alV  Europa),  with 
4600  inhab.,  birthplace  of  the  celebrated  painter  Cima  (1459-1517), 
surnamed  da  Conegliano,  is  commanded  by  an  extensive  and  con- 
spicuous castle  on  an  eminence.  The  Cathedral  contains  a  fine 
altar-piece  by  Cima  (1492).  Several  houses  have  painted  facades. 
Conegliano  is  noted  for  its  wine. 

Fkom  Conegliano  to  Vittorio,  8V2  M.,  railway  in  V2  br.  (fares  1  fr.  65, 
1  fr.  15,  75  c).  —  Vittorio  (Hotel  Vittorio,  Hot. -Pens.  Billi,  both  very  fair; 
Hot.  Giraffa),  a  town  of  11,C00  inhab.,  formed  in  1879  by  the  union  of 
Ceneda  (410  ft.)  and  Serravalle  (525  ft.),  contains  several  handsome  palaces. 
The  cathedral  of  Serravalle  has  a  fine  altar-piece  by  Titian  (Madonna 
with  S8.  Andrew  and  Peter;  1517).  The  beautiful  gardens  of  the  Marchese 
Costantini  are  situated  in  Ceneda.  A  pleasant  excursion  may  be  made  to 
the  'Bosco  del  Cansiglio,  a  forest  of  beech  and  pine  frees,  17,350  acres  in 
extent,  situated  on  a  plateau.  In  the  midst  of  it,  5  hrs.  from  Vittorio, 
stands  the  Palazzo  Reale  (3380  ft.)  with  the  official  quarters  of  the  forest 
inspectors  (good  accommodation). 

46  M,  Sacile  (80  ft.),  a  town  on  the  Livenza,  surrounded  by  walls 
and  fosses,  with  a  handsome  palace  of  the  Podestl,. 

54  M.  Pordenone  (90  ft.  ;  Quattro  Corone'),  probably  the  Partus 
Naonis  of  the  Romans,  with  8400  inhabitants,  was  the  birthplace 
of  the  painter  Giovanni  Antonio  de  Sacchi  da  Pordenone  (1483-1539). 
The  cathedral  contains  a  fresco  by  him  of  SS.  Erasmus  and  Rochus 
(1525)  and  two  altar-pieces,  one  a  beautiful  Madonna  with  saints 
and  the  family  of  the  donor  (1515),  the  other  the  Apotheosis  of 
St.  Mark  (1535;  injured).  Som«  of  his  works  may  be  seen  also  in 
the  Pal.  Comunale  (fine  Group  of  saints,  1525)  and  at  the  neigh- 
bouring village  of  Torre  (altar-piece). 

631/2  M.  Casarsa  (144  ft. ;  Rail,  Restaurant),  an  insignificant 
village,  is  the  junction  for  the  branch  to  Portogruaro  mentioned  at 
p.  352,  and  also  of  a  branch-line  to  (12  M.)  Spilimbergo  (Gothic 
clioir- stalls  by  Marco  Cozzi  in  the  cathedral).  The  church  con- 
tains some  fine  frescoes  by  Pordenone  (1525).  —  Beyond  Casarsa 


ftilfnsniSi)-^ 


S«T»eraT)lL  Anst  ■< 


WairijBr  ^Debes JLeis 


to  Trieste.  UDINE.  48.  Route.   o49 

tlu'  train  crosses  the  broad  channel  of  the  Tagliamento  by  an  iron 
bridge,  72  M.  in  length.  The  stony  deposits  of  the  stream  have  so 
raised  its  bed  that  the  next  stat.  (70  M.)  Codroipo  lies  30  ft.  below 
the  level  of  the  bottom  of  the  river. 

To  the  right  lie  Passariano  and  Campo  Formio,  vehich  gave  name 
to  the  peace  concluded  between  France  and  Austria  in  1797,  putting 
an  end  to  the  Republic  of  Venice. 

841/2  M.  XJdine.  —  Hotels.  Albergo  d'Italia,  Pia/.za  Venti  Settem- 
brc  9,  R.  2-4,  omn.  I  fr. ;  Chock  di  Malta,  less  expensive,  very  fair; 
ToKRE  DI  LoNDRA,  R.  IV2  fr.,  plain.  —  Caff^  Dorta,  Piazza  Vitt.  Emanuele; 
liailway  Restaurant.  —  Tbamwat  from  tbe  station  to  the  town. 

Vdine  (360  ft.),  the  ancient  Vtina,  situated  on  the  Roia  Canal, 
a  branch  of  the  Torre  (p.  351),  is  a  pleasant  and  prosperous  town 
with  23,300  inhab.  and  an  active  trade  in  flax,  hemp,  and  other 
materials.  In  the  13th  cent,  it  was  the  capital  of  Friuli,  becoming 
"Venetian  in  1420.  It  was  raised  to  an  archbishopric  in  1752  and 
contains  numerous  palaces  of  the  Friulian  noblesse  (some  with  faded 
paintings  on  their  facades). 

The  Castlb  (PI.  B,  C,  3;  now  barracks),  a  massive  building 
erected  by  Giov.  Fontana  in  1517,  rises  on  an  eminence,  which 
according  to  tradition  was  thrown  up  by  Attila,  in  order  that  he 
might  thence  survey  the  conflagration  of  Aquileia  (p.  352).  The 
tower  (watchman  20-25  c.)  commands  a  most  extensive  prospect. 

The  Piazza  Vittoeio  Emanuele  (PI.  B,  3),  the  chief  square  of 
the  town,  lies  at  the  S.  base  of  the  castle-hill  and  is  embellished  with 
a  sitting  figure  of  the  Ooddess  of  Peace,  in  commemoration  of  the 
peace  of  Campo  Formio  (see  above),  and  a  bronze  equestrian  Statue 
of  Victor  Emmanuel  II.  In  front  of  the  Clock  Tower  are  two  colossal 
Marble  Statues  of  Hercules  and  Cacus,  and  at  the  corners  rise  two 
lofty  Columns. 

The  Palazzo  del  Municipio  (PI.  B,  3,  4),  or  Pal.  Civico,  was 
built  in  1457  in  the  style  of  the  Doges*  palace  at  Venice,  and  after 
the  fire  of  1876  was  restored  by  the  Milanese  architect  Scaln.  The 
vestibule  contains  a  fresco  by  Pordenonc  (1516;  restored),  repre- 
senting the  Virgin  and  Child,  with  angels  playing  musical  instru- 
ments. In  the  inner  hall  are  a  marble  statue  of  Ajax,  by  V.  Lucardi 
(1854),  the  Invasion  of  Attila,  a  colossal  painting  by  Dom.  Someda 
(1889),  etc.    On  the  first  floor  aro  four  rooms  containing  old  pictures. 

A  few  paces  to  the  S.W.,  in  the  Via  della  Posta,  stands  the 
Romanesque  Cathedral  (PI.  C,  4),  which  possesses  a  fine  side- 
portal  with  marble  sculptures  and  a  hexagonal  campanile.  The 
interior  (much  modernized)  contains  an  Equestrian  Statue  of  Count 
Antonini,  who  fell  in  1G17  before  Gradisca  as  general  of  the  Udine 
militia  (over  the  main  entrance).  —  Beyond  the  cathedral  is  the 
small  Chiesa  alia  Puritcl.  (PI.  C,  4),  adorned  with  noteworthy  fres- 
coes by  Giov.  Batt.  and  Dom.  Tiepolo. 

The  narrow  Via  Lovaria  leads  from  the  Via  della  Posta  to  the 


350   Route  i.S.  OIVIDALE.  From  Venice 

N.E.  to  the  small  Oiardino  Pubblico,  which  contains  ntimerous  fine 
cypresses.  Adjacent  rises  the  Aechiepiscopal  Palace  (^Palazzo 
deW  Arcivescovado ;  PI.  C,  3),  •which,  as  is  indicated  by  memorial  tab- 
lets, -was  occupied  by  Pope  Pius  VI.  in  1782,  Napoleon  in  1807, 
and  Victor  Emmanuel  II.  in  1866. 

Intekiok.  The  Staircase  is  adorned  by  a  Fall  of  the  Angels  by  Tiepolo, 
while  the  Thhone  Room  contains  the  portraits  of  all  the  patriarchs  of 
Aquileia  and  of  the  bishops  and  archbishops  of  Udine.  Other  'Frescoes  by 
Tiepolo  adorn  the  Sala  Rossa  (Judgment  of  Solomon,  etc.)  and  the  Gallekt 
(history  of  Jacob,  with  Abraham's  Sacrifice  on  the  ceiling).  The  State 
Bed  Chambee  contains  five  frescoes  (freely  retouched)  of  New  Testament 
scenes  by  Qiovanni  da  Udine,  with  arabesques. 

From  the  Piazza  Vitt.  Emanuele  we  may  proceed  to  the  N.W. 
across  the  Mercato  Fcccftio  (PI.  B,  3),  or  direct  through  the  Via 
Sotto  Monte,  to  the  Palazzo  Bartolini,  which  contains  the  Museo 
CiTico  and  the  Library. 

On  the  Ground  Floor  are  Roman  antiquities  and  a  colossal  bust  of 
Dante.  The  Upper  Floor  contains  paintings :  Oirol.  da  Udine ,  Cor- 
onation of  the  Virgin ;  Palina  Giovane,  St.  Mark  receiving  from  the  Virgin 
a  banner  bearing  the  arms  of  Udine,  in  the  background  the  town  of 
Udine ;  Tiepolo,  Council  of  the  Grand  Master  and  Chapter  of  the  Knights 
of  Malta,  deciding  on  the  admission  of  the  nobles  of  Udine  to  the  Order. 
Here  also  are  a  Collection  of  Coins,  with  a  complete  series  of  the  coins 
of  all  the  patriarchs  of  Aquileia,  and  some  fine  works  in  amber.  —  The 
Library  is  specially  rich  in  works  upon  Friuli. 

A  little  to  the  N.,  Via  Gemona  No.  17,  stands  the  house  of 
Oiovanni  da  Udine  (1487-1564),  a  pupil  of  Raphael  and  one  of 
his  assistants  in  painting  the  frescoes  of  the  Vatican ;  it  possesses  a 
finely  adorned  facade  and  a  memorial  tablet, 

A  branch -railway  (10  M.,  in  ca.  Vz  br. ;  fares  1  fr.  65,  1  fr.  20,  85  c.) 
runs  from  Udine  to  — 

Cividale  del  Friuli  (Alhergo  al  Friuli),  a  small  town  on  the  Natisone, 
with  410O  inhab.,  the  ancient  Forum  Julii,  for  many  centuries  the  seat 
of  Lombard  dukes,  beginning  with  Gisulf,  nephew  of  Alboin,  but  Venetian 
since  1419.  It  was  the  birthplace  of  the  actress  Adelaide  Ristori  (b.  1821). 
and  of  Paul  Wamefrid  (Pciulus  Diaconus),  who  lived  in  the  neighbouring 
monastery  of  Montecassino  and  wrote  a  history  of  his  people  (Historia 
Longobardorum)  in  the  time  of  Charlemagne.  —  The  Cathedral,  a  build- 
ing of  the  15th  cent,  with  a  facade  by  Pietro  Lombardi  (after  1502),  contains, 
immediately  to  the  right,  the  remains  (frequently  restored)  of  the  8th  cent. 
Baptistery  of  Callistut,  adorned  with  rude  reliefs,  transferred  hither  in 
1448.  By  the  high-altar  is  a  'Pala',  or  altar-frontal,  of  gilded  silver  (1185). 
In  the  Piazza  del  Duomo  is  the  Musedm  (intelligent  custodian)  with  numer- 
ous Roman  and  Lombard  antiquities,  including  the  stone-coffln  of  Duke 
Gisulf  (?),  weapons,  ornaments,  etc.  It  contains  also  the  treasures  formerly 
belonging  to  the  cathedral-chapter,  including  a  Oospel  of  the  Lombard 
period;  a  Psaltery  of  the  10th  century,  formerly  belonging  to  Queen  Ger- 
trude of  Hungary ;  the  prayer-book  of  St.  Elizabeth  of  Thuringia,  with 
ivory  boards  and  miniatures  (13th  cent.);  the  ivory  'Pax'  of  Duke  Uso  of 
Ceneda  (8th  century);  and  an  ivory  casket  with  mediaeval  reliefs  after  the 
antique.  —  Adjacent  is  Santa  Maria  della  Valle,  a  convent  of  Ursuline 
nuns  (formerly  Benedictine),  with  the  "  Chapel  of  St.  Pelirudis,  founded  by 
the  Lombard  queen  Peltrudis  (752),  containing  stucco  ornaments  and  figures 
(SS.  Agape,  Anastasia,  Chionia,  Irene,  Thecla,  and  Erasma),  in  which  the 
influence  of  antique  art  may  still  be  traced,  while  the  architecture  of 
the  choir  e.xhibits  the  decay  of  the  Lombard  period.  The  nuns  possess  a 
large  silver  cross  of  the  same  epoch.  —   The  handsome  Ponte  del  Diavolo 


to  Trieste.  GORIZIA.  48.  Route.    351 

(lotb  cent.)  leads  across  the  romantic  ravine  of  the  Natisone  to  the  churches 
of  San  Martina,  which  contains  the  altar  of  Duke  Pemmo,  adorned  with 
barbaric  reliefs  (733),  and  Santa  Maria  tfe'  Battuti,  with  the  masterpiece  of 
Pellegrino  da  San  Daniele  (Madonna  with  saints ;  152S). 

A  Steam  Tramway  (18  M.,  in  l'/4  hr. ;  fares  2  fr.  10,  1  fr.  35  c.)  unites 
Udine  with  the  small  town  of  San  Daniele  del  Friuli  (^ib  ft. ;  Inn),  which 
is  prettily  situated  in  a  smiling  hill-district.  In  the  Cathedral  is  an  altar- 
piece  of  tha  Trinity,  by  Pordenone  (1534).  The  Gothic  church  of  SanC 
Antonio  contains  an  extensive  cycle  of  frescoes  by  Pellegrino  da  San  Daniele 
(1497-1522).    A  line  view  is  obtained  from  the  Piazza  del  Castello. 

From  Udine  to  Britch  (and  Vienna),  by  the  Pontebba  Railway,  see  E.  6; 
to  San  Giorgio  di  Nogaro,  see  p.  351. 

The  train  crosses  the  Torre  and  the  Natisone.  —  94  M.  San 
Giovanni  Maiizano,  the  Italian  frontier-station.  The  small  ludrio 
forms  the  frontier,  —  971/2  M.  Cormons,  the  seat  of  the  Austrian 
custom-house  (p.  345),  beyond  which  the  Isonzo  is  crossed. 

105  M.  Gorizia,  Germ.  Gorz  (^Post;  Hot.  Union,  with  garden- 
restaurant;  *H6t.  Central,  and  othersj,  tlie  seat  of  a  hlshop,  with 
25,400  inhab.,  is  charmingly  situated  on  the  Isonzo,  in  a  hilly  dis- 
trict. The  Cathedral  (14th  cent.)  is  worthy  of  notice;  its  treasury 
contains  some  valuable  Romanesque  articles  from  Aquileia.  On  ac- 
count of  its  mild  climate  Gorizia  is  visited  by  invalids,  who  take  it 
as  an  intermediate  stage  on  their  way  to  the  S.  or  even  pass  the 
winter  here.  —  Carr.  to  Aquileia  (see  p.  352;  211/0  M.;  31/2  hrs.)  10, 
with  two  horses  20-24  K. 

1031/2  M.  Rubbia-Savogna;  111  M.  Gradisca-Sdraussina.  Be- 
yond (113  M.)  Sagrado  the  train  passes  through  a  short  tunnel. 
116  M.   Ronchi. 

1181/2  M.  Monfalcone  (80  ft.)  is  the  junction  of  the  Venice- 
Portogruaro-Trieste  line.  —  The  train  enters  the  stony  region  of 
the  Karst,  and  the  Adriatic  comes  in  sight  on  the  right. 

From  (I28V2  M.)  Nabreslna  to  (140  M.)  Trieste,  see  Baedekers 
Austria. 

b.  Vift,  Portogruaro  and  Monfalcone.    Excursion  to  Aquileia 
and  Grado. 

100  M.  Railway  in  32/4-71/2  hrs.  (express  fares  19  fr.  85, 13  fr.  95,  9  fr.  5  c. ; 
return -ticket  valid  for  5  days,  30  fr.  40,  21  fr.  30,  13  fr.  65  c.  —  Custom- 
house examination  at  Cervignano. 

From  Venice  to  (6  M.)  Mestre,  see  p.  269.  —  The  railway  di- 
verges to  the  right  from  the  old  line  to  Treviso  and  Udine  and  runs 
to  the  N.E.  across  the  fertile,  but  at  places  marshy,  coast-plain, 
generally  keeping  near  the  lagoons.  —  I6V2  ^^-  '^''^^  Michele  del 
Quarto,  connected  by  road  with  Porte  Grandi,  on  the  lagoons.  — ' 
26  M.  San  Dond.  di  Piave;  31  M.  Ceygia.  —  We  then  cross  the 
Livenza  and  reach  (34  M.)  Santo  Stino  di  Livenza. 

From  S.  Stino  a  road  leads  to  the  S.E.  along  the  Livenza  to  the  small 
lagoon-town  of  Caorle,  which,  though  now  sadly  decayed,  was  a  flourish- 
ing seaport  in  the  early  middle  agos  ami   the  see  of  a  bishop  from  598  to 


3o2   Route  48.  AQUILEIA.  From  Venice, 

1818.  The  well-preserved  Cathedral  (1038),  with  its  alternate  pillars  and 
columns,  its  open-work  roof,  and  its  three  apses,  is  a  good  specimen  of  the 
early-Romanesque  style.  The  round  bell-tower  is  of  the  same  period.  — 
About  3  M.  to  the  W.  of  S.  Stino  lies  the  chateau  of  Magnadole,  with  ad- 
mirable frescoes  by  Paolo  Veronese  (painted  after  1572). 

42  M.  Portogruaro  (16  ft.  -,  Alh.  all'  Italia'),  the  seat  of  a  bishop, 
has  3100  inhab.  and  lies  on  the  small  river  Lemene.  The  Museo 
Nazionale  Concordiese  contains  objects  found  in  the  excavations  at 
Concordia  Sagittaria ,  the  ancient  Roman  Julia  Concordia,  situated 
l'/4M.  to  the  S.,  which  preserves  an  early  mediajval  baptistery  as 
well  as  the  Roman  remains. 

A  Branch  Railm'at  runs  to  the  N.  from  Portogruaro  to  (13'/2  M.;  ca. 
8/4  hr.)  Casarsa  (p.  348),  via  (10  M.)  San  Vita  al  Tagliamento. 

Beyond  (46  M.)  Fossalta  we  cross  the  Tagliamento  and  reach 
(51  M.)  Latisana. 

62  M.  San  Giorgio  di  Nogaro,  on  the  Corno,  is  the  junction 
of  a  branch-line  to  (18  M.)  Vdine  (p.  349)  via  (7  V2  M.)  Palmanova, 
a  frontier-fort  laid  out  in  the  form  of  a  star  by  the  Venetians  in  1693. 
—  We  now  cross  the  frontier. 

681/2  M.  Cervignano ;  71  M.  Villa  Vicentina,  the  stations  for 
Aquileia  and  Grado  (see  below);  761/0  M-  Ronchi  (p.  361). 

79  M.  Monfaloone,  and  thence  to  (100  M.)  Trieste,  see  p.  351. 


From  the  rail,  stations  of  Cervignano  (6  M. ;  diligence  50  A., 
one-horse  carr.  2  A'.)  and  Villa  Viceutina  (3  M. ;  one-horse  carr.  2  K.) 
shadeless  roads  lead  to  — 

Aquileia,  (Aquila  Nera,  well  spoken  of ;  Tortuna;  Cafe  Posta), 
a  scanty  village  of  900  inhab.,  which  now  lies  about  5y2  M.  from 
the  sea,  but  is  connected  with  the  lagoons  by  canals.  In  the  vicinity 
are  many  fever-breeding  rice-flelds  (p.  68). 

The  town  of  Aquileia,  founded  by  the  Romans  in  B.  C.  181  as  a  bul- 
wark against  the  Celts  and  Istrians,  was  already  a  commercial  and  trad- 
ing place  of  great  importance  in  the  reign  of  Augustus;  its  chief  products 
were  amber  and  glass  ware.  As  a  naval  station  and  strong  frontier-fortress, 
it  soon  became  the  chief  point  d^appui  of  the  Romans  in  their  campaigns 
against  Illyria  and  the  lands  of  the  Danube.  In  238  A.  D.  the  town  was 
besieged  in  vain  by  Emp.  Maximinus  Thrax,  in  452  it  was  destroyed  by 
Attila,  after  an  obstinate  resistance,  and  in  56S  it  was  subdued  by  the 
Lombards.  Thanks  to  the  silting  up  of  the  lagoons  and  the  rivalry  of  Grado, 
it  never  regained  its  former  prosperity,  and  after  its  capture  by  the  Venetians 
in  1451,  it  sank,  like  Grado,  into  insignilicance. 

According  to  tradition,  Aquileia  was  converted  to  Christianity  in  the 
first  century  of  our  era  by  St.  Mark  and  St.  Hermagoras  (d.  65),  the  tutelar 
and  first  bishop  of  the  town.  It  soon  became  a  metropolis  of  the  new  faith, 
and  its  bishops  assumed  the  patriarchal  title  in  557  (?)  and  for  centuries 
claimed  equal  rank  with  the  popes.)  The  archbishopric  was  removed  to 
Udine  in  1752. 

Of  the  Roman  Aquileia  all  that  has  been  discovered  is  the  re- 
mains of  one  street  and  the  N.W.  angle  of  the  town-walls.  The 
sculptures  and  small  works  of  art  found  in  the  excavations  are  pre- 
served in  the  Abchjeological  Museum,   founded  in  1882,  which 


to  Trieste.  AQUILEIA.  48.  Route.   353 

is  open  daily,  9-12  and  2-4  (in  summer,   8-6;  adm.  40  h. ;  plan  of 
the  city  and  excavations  1  K.).   Director,  Prof.  H.  Maionica. 

The  charming  Museum  Garden,  with  its  ancient  sculptures  eftectively 
interspersed  with  its  cedars,  cypresses,  and  palms,  recalls  the  Villa  Albani 
at  Rome.  —  The  Ground  Floor  contains  the  collection  of  sculptures.  Room  1. 
Early-Christian  monuments.  R.  II.  Fine  statues  of  Roman  emperors  and 
military  monuments.  R.  III.  Civic  monuments.  R.  IV.  Figures  of  the 
gods.  —  On  the  Upper  Floor  are  the  smaller  antiquities.  R.  V.  Ancient 
glass,  some  very  rare.  R.  VI.  Objects  in  metal.  R.  VII.  Objects  of  terra- 
cotta.    R.  Vlll.    Gems,  jewels,  coins,  and  works  in  amber. 

The  chief  mediaeval  monument  is  the  *Catheuhal,  a  flat-roofed 
basilica  with  aisles  and  transept,  erected  by  Patriarch  Poppo  (1019- 
42)  on  the  site  of  an  early-Christian  church  and  consecrated  in  1031. 
Destroyed  by  an  earthquake  in  1348,  it  was  rebuilt  by  Patriarch 
Marquard  about  13T9  in  the  Gothic  style.  The  Renaissance  additions 
date  from  the  Venetian  period  (ca.  1500 ).  In  1845-46  it  was  restored. 

Interiok.  In  the  left  aisle  is  a  small  circular  chapel,  in  marble  (1031).  — 
The  choir  contains  Renaissance  stalls  and  an  altar-piece  by  Pellegrino  da 
San  Daniele,  in  a  fine  old  frame,  with  the  tutelars  of  Rome  (SS.  Peter  and 
Paul),  Aquileia  (SS.  Hermagoras  and  Fortunatus),  and  Venice  (SS.  Mark 
and  Theodore).  The  frescoes  in  the  apse,  probably  dating  from  the  days 
of  Poppo  and  Marquard,  represent  the  Consecration  of  the  church  in  the 
presence  of  Emp.  Conrad  II.  (above)  and  the  Sufferings  of  St.  Hermagoras 
(below).  —  The  walls  of  the  crypt,  which  is  a  relic  of  the  original  early 
Christian  church,  are  painted  with  old  frescoes  of  various  dates.  Behind 
a  screen  is  an  old  reliquary.  —  The  right  transept  contains  remains  of 
the  choir-screens  of  the  earlier  building  and  a  column  with  a  capital  in 
the  Ravenna  style.  Adjacent  is  the  tomb  of  the  patriarchs  of  the  Milan 
family  of  Delia  Torre  (p.  1!27;  1273-1365). 

The  Nnrlliex  of  the  cathedral  and  the  octagonal  Baptistery, 
resembling  the  buildings  of  Ravenna,  as  well  as  the  ''Chiesa  dei 
Pagani\  which  connects  them,  are  remains  of  early-Christian  build- 
ings. —  The  lower  part  of  the  conspicuous  Campanile,  240  ft.  high, 
is  Romanesque  (1031),  the  upper  part  dates  from  the  14th  century. 
The  top  commands  a  superb  *View  of  the  lagoons,  the  plain  of  the 
Isonzo,  and  the  distant  Venetian  and  Julian  Alps. 

A  pleasant  excursion  (one-horse  carr.  2K.)  may  be  made  to  the  village 
iif  Belvedere,  lying  3  M.  to  the  S.,  on  the  margin  of  the  lagoons,  and 
possessing  a  fine  pine-wood  (pineta),  extensive  dunes,  and  iish-hatcheries. 
Since  1902  a  ship -canal  has  been  under  construction  between  Belvedere 
and  Grado. 

A  steamer  (80  and  50  ft.)  plies  from  Aquileia  twice  (in  summer 
four  times")  daily,  on  the  Natissa  Canal,  then  through  the  ramifying 
canals  of  the  lagoons,  passing  numerous  fishermen's  huts  (casoni),  to 
(I'Ahr.)- 

Grado  [Hot.  Fonzari,  closed  in  winter;  Alb.  Cervo  d'Oro;  Poata, 
fair;  Hut.  International;  Pens.  Fortino,  R.  at  each  2-4,  board  6  K.; 
private  lodgings;  visitor's  tax  3-6  K.;  steamer  to  Trieste  twice 
daily,  in  winter  only  thrice  weekly),  a  flshing-town  (4000  inhab.), 
pleasantly  situated  on  a  spit  of  land  (lido)  and  recently  much  fre- 
quented as  a  bathing-resort  by  the  people  of  Trieste.  Excellent 
beach  (bath  60  ft.);  marine  hospital  for  children. 

Cirado,  fouuded  by  refugees  from  Aquileia  in  452  under  the  name  of 
Aquileia  Nova  or  Gradus,  joined  the  Venetian  naval  league  (p.  242)  in  697 

Baf.okkbu.    Italy  I.    13th  Kdit.  'I'd 


354    Route  48.  GRADO. 

and  soon  became  a  dangerous  rival  of  the  mother-town.  From  575  to  1451 
it  was  the  seat  of  a  patriarch,  whose  title  passed  to  the  archbishop  of 
Venice  in  the  latter  year.  Down  to  1797  Grado  belonged  to  Venice,  but 
since  1809  it  has  been,  like  Aquileia,  under  Austrian  rule. 

The  *Cathkdeal  (Sant'  Eufemia)  was  founded  after  the  model 
of  the  churches  of  Ravenna  by  the  Patriarch  Elias  (?;  ca.  578),  who 
is  mentioned  by  name  in  one  of  the  early-Christian  inscriptions.  It 
is  a  basilica  with  aisles  but  no  transept,  with  a  modernized  narthei 
and  various  altars  of  later  date.  —  At  high  mass  on  Sun.  the  Cantus 
patriarchinus,  an  early  mediaeval  liturgy,  is  chanted  by  the  clergy 
and  people. 

Inteeiok.  The  mosaic  flooring  is  that  of  the  original  church.  —  In 
the  nave,  to  the  left,  is  a  Romanesque  pulpit,  with  a  canopy  in  the  Ven- 
etian Byzantine  style.  —  The  high-altar  has  an  antependium  (pala)  in  em- 
bossed silver  (1372).  In  the  apse  are  ancient  frescoes  (13th  cent.)  and  the 
patriarch's  throne,  put  together  out  of  various  early-Christian  fragments. 
—  Several  early-Christian  valuables  (silver  pyx,  reliquary)  and  mediaeval 
works  of  art  (bronze  basin  with  enamels,  reliquary)  are  preserved  in  the 
sacristy  and  under  the  Altare  del  Santissimo  Sacramento. 

The  Court  of  the  church  contains  many  remains  of  Roman  and 
Christian  monuments,  including  three  Roman  sarcophagi. 

Adjoining  the  cathedral  is  an  early-Christian  Baptistery.  —  A 
few  other  relics  of  the  early-Christian  period  may  be  seen  in  the 
church  of  Santa  Maria  delle  Grazie,  which  was  also  founded  in  the 
6th  century.  —  In  1903  the  foundations  of  an  8th  cent.  (?)  Basilica 
with  nave  and  aisles  were  discovered  in  the  Piazza  della  Corte;  below 
them  are  fragments  of  an  early- Christian  aisleless  basilica  of  the 
0th  cent.,  with  mosaics. 

Pleasant  excursion  (^A  hr.,  boat  2  K.  40  ft. -4  A'.)  to  the  little  island  of 
Burbana,  on  which  is  an  ancient  pilgrimage-church  reconstructed  in  1593-1612. 


VI.  The  Emilia. 


49.  From  Turin  to  Piaceiiza  via  Alessandria 357 

50.  From  Milan  to  Bologna  via  Parma  and  Modena.    Pia- 
cenza.    Reggio .    .    .    .      367 

From  Piacenza  to  Ponte  deir  Olio  and  Velleia;  to  Genoa 
via  Bobbio,  360,  361.  —  Salsomaggiore  361.  —  From 
Re^siio  to  Canossa,  to  Sarzana,  and  to  Guastalla,  363, 
36i.     Correggio,  364. 

51.  Parma 364 

52.  From  Paima  (Milan)  to  Sarzana  ( Spezia,  Pisa).    .    .      370 
oB.   Modena 372 

From  Modena  to  Mirandola  and  to  Sassuolo  (Piandela- 
gotti).  Road  from  Modena  to  Pistoia.  From  Modena 
to  Vignola,  376. 

54.  From  Venice  to  Bologna  via  Padua  and  Ferrara.    .    .      376 

From  Eovigo  to  Chioggia.     Cento,  378. 

55.  Ferrara 379 

From  Ferrara  to  Codigoro  and  to  Eavenna,  3:6. 

56.  Bologna 386 

From  Piazza  del  Nettuno  and  Piazza  Vittorio  Emanuele 
to  San  Domenico  and  the  S.W.  quarters,  390.  —  From 
Piazza  del  Nettuno  to  San  Pietro  and  the  S.E.,  E.,  and 
N.E.  quarters,  3t6.  —  Environs  of  Bologna,  406. 

57.  From  Bologna  to  Florence  via  Pistoia 407 

From  Sas.'^o  to  Prato,  107.  —  From  Pracchia  to  Bosco- 
lungo,  403. 

58.  From  Bologna  to  Ravenna 403 

59.  From  Ravenna  (or  Bologna)  to  Florence  via  Faenza  .     420 


The  Emilia  includes  the  former  duchies  of  Parma  and  Modena,  as  well 
as  the  papal  Romagna ,  and  is  now  divided  into  the  eight  provinces  of 
Piacenza,  Parma,  Reggio,  Modena,  Bologna,  Ferrara,  Ravenna,  and  Forl't, 
covering  an  area  of  7920  sq.  M.,  with  a  population  of  2,478,000  souls.  The 
dialects  spoken  here  form  the  third  main  group  of  the  Gallic  languages 
of  Upper  Italy,  and  the  nasal  sound  of  the  vowels  will  at  once  strike  the 
traveller  as  indicating  the  original  affinity  of  the  people  with  the  French. 
The  Celts  crossed  the  Alps  in  several  migrations.  After  the  Jnsubri  had 
conquered  the  district  of  Milan,  and  the  Cenomani  Brescia  and  Verona, 
the  tribe  of  the  Boii  crossed  the  Po  about  400  B.C.,  and  sabjagated  the 
Etruscans  and  Umbrinns  who  were  settled  to  the  S.  of  that  river.  They 
chose  Bologna  for  their  capital,  in  the  name  of  which  is  still  preserved 
that  of  the  conquerors.  The  Senones  next  invaded  Italy,  and  took  posses- 
sion of  the  coast-district  to  the  S.  of  the  Boii,  extending  nearly  to  An- 
cona.  It  was  a  horde  of  these  Gauls  that  destroyed  Rome  in  B.C.  389. 
About  a  century  later  Italy,  united  under  the  leadership  of  Rome,  began 
to  reconquer  the  lost  territory.  In  283  the  Senones  were  exterminated. 
In  269  a  colony  was  established  at  Arimintim,  which  was  constituted  the 
strongest  frontier- fortress  in  the  peninsula,  and  connected  with  Rome 
by  the  Via  Flaminia.  In  224  the  IJoii  were  subjugated,  and  in  planting 
the  colonies  of  Placentia  and  Cremona  in  219,  Rome  extended  her  frontier 
as  far  as  the  Po.  This  process  of  Latinisation  was  interrupted  tiy  the  in- 
vasion of  Hannibal,  but  vigorously  resumed  after  his  defeat;  and  in  189 
Bologna,  and  in  183  Modena  and  Parma  received  Roman  colonies.  M.  jEmiliv3 
Lfpidus,    who   was   con.snl    in  B.C.  187,   constructed   a  military  road  from 

23* 


356 


VI.  THE  EMILIA. 


Rimini  to  Piacenza,  via  Bologna,  Modena,  Reggio,  and  Parma,  a  distance 
of  150  M.,  called  the  Via  Emilia,  whence  the  whole  district  derived  the 
ancient  name  which  it  still  retains.  Down  to  the  time  of  Caesar,  although 
the  Roman  language  and  customs  had  spread  rapidly  here,  the  district  was 
officially  known  as  OalUa  Cispaddna,  the  'Province  of  Gaul  on  this  side  of 
the  Po',  and  the  Rubicon  formed  the  frontier  of  Italy;  but  in  B.C.  43  it 
was  finally  united  with  the  latter. 

The  institutions  of  antiquity  lingered  here  longer  than  in  any  other 
part  of  Italy.  In  402  the  Emperor  Honovius  transferred  his  residence  to 
Ravenna,  which  also  continued  to  be  the  capital  of  the  Gothic  kings. 
After  the  overthrow  of  the  Gothic  domination  by  Belisariusin  539,  Ravenna 
became  the  seat  of  the  Exarchs^  and  the  Italian  centre  of  the  Eattern 
Roman  Empire.  The  Lombards  since  5G8  attacked  and  finally  took  posses- 
sion of  it,  but  it  was  soon  wrested  from  them  by  the  Prankish  king  Pepin., 
who  is  said  to  have  presented  the  whole  e.xarchate,  i.e.  the  coast-district 
from  the  Po  to  Ancona,  to  the  Roman  Church  in  755.  At  first,  however, 
the  real  supremacy  over  the  district  was  held  by  the  Archbishop  of  Ra- 
venna. The  States  of  the  Church  never  constituted  a  uniform  whole  like 
those  of  Milan  or  Venice.  They  consisted  of  a  number  of  towns,  princi- 
palities, and  monasteries,  often  estranged  from  the  pontifical  throne,  and 
not  unl'requently  in  arms  against  it.  The  pope  appointed  cardinals  as  his 
legates  in  the  different  districts,  but  their  power  was  limited,  since  the 
most  important  prerogatives  were  usurped  by  his  subjects.  Meanwhile 
the  Towns  in  the  Emilia  prospered  greatly,  and  became  famous  as  cradles 
of  Science  ,  notwithstanding  the  feud  between  Guelphs  and  Ghibellines, 
princes,  nobles,  and  burghers,  which  raged  within  and  without  their  walls. 
Roman  Law.,  which  after  the  Germanic  invasion  had  been  preserved  in 
several  towns  and  districts,  began  to  be  studied  scientifically  at  Ravenna 
in  the  lith  century.  From  the  i2th  cent,  onwards,  owing  to  the  unsettled 
condition  of  rights,  the  study  became  very  prevalent,  Bologna  being  its 
great  centre,  whence  a  knowledge  of  Roman  Law  gradually  extended  over 
the  other  countries  of  Europe  (comp.  p.  388). 

The  Political  History  of  these  districts  during  the  middle  ages  re- 
cords continual  struggles  for  precedence  among  several  rival  powers.  As 
long  as  the  power  of  the  emperors  was  in  the  ascendant,  they  kept  the 
pretensions  of  the  popes  in  check.  Nicholas  III.  was  the  first  pope  to 
obtain  control  of  the  entire  Romagna  (in  1278).  During  the  exile  of  the 
popes  at  Avignon,  the  dismemberment  of  the  papal  dominions  seemed 
imminent,  but  after  protracted  combats  it  was  prevented  by  Cardinal  d'Al- 
bornoz,  a  valiant  Spaniard  who  was  sent  to  Italy  by  Innocent  IV.  in  1353. 
Even  those  princes,  however,  who  consented  to  acknowledge  the  papal 
supremacy,  still  continued  practically  independent.  It  is  difficult  to  say 
how  often  the  stubborn  citizens  of  Bologna  were  subdued  by  the  popes, 
only  to  rise  again  in  successful  revolt.  Alexander  VI.  and  his  son  Oesare 
Borgia  at  length  put  an  end  to  this  insubordination  about  1499;  they 
extirpated  the  dynasties  of  the  Romagna  with  fire  and  sword,  and  from 
that  period  the  papal  fiefs  began  to  be  gradually  converted  into  a  state 
in  the  modem  sense.  Under  Julius  II.  and  Leo  X  the  papal  supremacy 
was  farther  extended  to  Modena,  Parma,  and  Piacenza.  In  1545  Paul  III. 
Farnese  invested  Pier  Lvigi,  his  natural  son,  with  the  last  two  as  a  duchy, 
which,  on  the  extinction  of  the  Farnese  in  1731,  came  into  the  possession 
of  the  Spanish  Bourbons.  In  Modena  and  Reggio,  the  house  of  Este  main- 
tained its  supremacy  in  spite  of  the  papal  pretensions,  while  Ferrara  in 
1597  was  incorporated  with  the  States  of  the  Church. 

The  whole  of  the  existing  institutions  were  at  length  overthrown  by 
the  French  Revolution.  Napoleon  I.  united  Parma  to  France,  and  annexed 
Modena  and  the  Romagna  to  his  kingdom  of  Italy.  Though  thus  under 
foreign  domination,  the  country  now  enjoyed  a  period  of  active  and  useful 
internal  reform,  which,  however,  was  rudely  interrupted  by  the  fall  of 
Napoleon  and  the  establishment  of  Austrian  supremacy  over  these  districts. 
Parma  was  awarded  to  Marie  Louise,  and  Modena  to  Archduke  Francis,  the 
heir  of  the  last  Este  (who  died  in  1803  with  the  title  of  Duke  of  Breisgau). 
The  worst  lot   befel   the  Romagna,   in  spite  of  the  entreaty  addressed  by 


STRADELLA.  40.  Route.    357 

Its  ambassadora  at  the  Congress  of  Vienna,  rather  to  hand  over  their 
country  to  an  'infernal  than  to  the  papal  government'.  By  an  edict  of  15th 
Augast,  1814,  no  fewer  than  1824  dissolved  monasteries  and  612  nunneries 
were  re-erected  in  the  State?  of  the  Church.  The  Code  Napoleon  was 
abolished,  and  the  ecclesiastical  administration,  as  organised  by  Sixtus  V. 
in  1590,  re-established.  The  four  northernmost  provinces,  Bologna,  Fer- 
rara,  Ravenna,  and  Forli,  were  governed  by  a  cardinal  with  the  title  of 
Legate  (whence  these  districts  were  called  legations!,  whose  sway  was 
arbitrary  and  despotic  in  the  extreme.  The  courts  of  justice  and  all  the  chief 
magistracies  were  administered  by  priests,  and  never  probably  did  a  gov- 
ernment earn  for  itself  such  a  fund  of  hatred  from  its  subjects.  In 
1821,  1831,  and  1848,  the  Emilia  succeeded  in  throwing  off  the  yoke  of  its 
dukes  and  legates,  but  on  each  occasion  the  insurrection  was  crushed 
by  Austrian  intervention.  The  war  of  1859  rendered  the  rising  under  Farini 
a  more  successful  undertaking,  and  by  the  plebiscite  of  12th  March,  1860, 
the  annexation  of  the  Emilia  to  Piedmont  was  accomplished. 


49.    From  Turin  to  Piacenza  via  Alessandria. 

117  M.  Railway  in  3V4-8V2  hrs.  (fares  21  fr.  85,  15  fr.  30,  9  fr.  85  c.-, 
express  24  fr.,  16  fr.  80  c.). 

From  Turin  to  Alessandria,  561/2  M.,  seeR.llc.  Beyond  Alessandria 
we  traverse  the  battlefield  of  Marengo  (p.  63).  6II/2  M.  Spinetta,  to 
the  S.E.  of  Marengo.  —  65  M.  San  Giuliano.  The  train  crosses  the 
Scrivia. 

At  (70  M.)  Tortona  our  line  unites  with  that  from  Milan  to 
Genoa  via  Voghera  (see  p.  205),  which  we  follow  to  (80  V2  M.)  Voghera. 

We  now  skirt  the  N.  spurs  of  the  Apennines.  861/2  M.  Casieggio, 
the  Clastidiuw  (p.  126)  of  the  wars  between  the  Romans  and  Gauls  ; 
94  M.  Broni.  —  96  M.  Stradella  (330  ft.),  a  town  of  6600  inhabitants. 
From  Stradella  to  Bressana-Bottarone  and  Pavia,  see  p.  205 ;  steam- 
tramway  to  (I51/2  M.)  Voghera,  see  p.  205. 

At  (981/2  M.)  Arena-Po  we  enter  the  plain  of  the  Fo.  103  M. 
Castel  San  Giovanni.  —  112  M.  San  Nicolh,  in  the  plain  of  the 
Trebbia  (ancient  Trebia'),  memorable  for  the  victory  gained  by  Han- 
nibal, B.C.  218,  over  the  Romans. 

117  M.  Piacenza,  see  p.  358. 


50.   From  Milan  to  Bologna  via  Parma  and  Modena. 
Piacenza.   Reggio. 

134  M.  Railway  in  3V2-7  hrs.  (fares  25  fr.  10,  17  fr.  55,  11  fr.  30  c.; 
express  27  fr.  60,  19  fr.  30  c.).  To  Piacenza,  42  M.,  in  1-21/4  hrs.  (fares 
7  fr.  SO,  5  fr.  55,  3  fr.  55  c. ;  express  8  fr.  70,  6  fr.  10  c).  A  dining-car 
(d^j.  31/2,  D.  4'/2  fr  )  is  attached  to  the  fastest  train.  The  'lightning  express' 
mentioned  at  p.  370  may  be  used  as  far  as  Parma. 

Milan,  see  p.  128.  —  At  (A^/2  M.)  Rogoredo  the  line  to  Favia, 
Voghera,  and  Genoa  Hiverges  to  the  right  (see  p.  162  and  R.  32).  — 
11  M.  Melegnano  (290  ft.),  formerly  Marignano ,  is  a  memorable 
place  in  the  annals  of  raediceval  and  modern  warfare.  Here,  on 
14th  Sept.,  1515,  Francis  I.  of  France,  in  his  campaign  against 
Massimiliano  Sforza  (p.  127),  defeated  the  Swiss  allies  of  Milan,  7000 


358   Route  50.  PIAGENZA.  From  Milan 

of  whom  fell  in  the  action.  Here  also  a  sanguinary  conflict  took 
place  between  the  French  and  the  Austrians,  on  7th  June,  1859, 
resulting  in  the  retreat  of  the  latter.  The  Parish  Church  contains 
a  Baptism  of  Christ,  by  Borgognone.  Steam-tramway  to  Sant'  Angelo, 
see  below.  —  15'/2  M.  Tavazzano.  Innumerable  cuttings  for  pur- 
poses of  irrigation  and  drainage  here  intersect  the  fruitful  plain. 

2OV2  M.  Lodi  (260  ft. ;  Alb.  Sole  e  Oambero,  R.  2-21/2,  omn. 
Y2  fr. ;  Alb.  Vignolo),  a  town  with  17,300  inhab.,  founded  by  Frede- 
rick Barbarossa  in  1162  after  the  destruction  of  Lodi  Vecchio  (see 
below),  was  one  of  the  bitterest  enemies  of  Milan  in  the  middle 
ages.  It  is  celebrated  as  the  scene  of  Napoleon's  storming  of  the 
bridge  over  the  Adda,  10th  May,  1796.  Excellent  Parmesan  cheese 
is  made  in  the  neighbourhood.  —  The  Cathedral  contains  an  ancient 
relief  of  the  Last  Supper.  San  Lorenzo,  a  Romanesque  church  of 
the  12th  cent.,  has  been  restored  in  the  original  style  since  1889. 
The  church  of  the  *Incoronata,  erected  by  Giov.  Battaggio  and  Giov. 
Dolcebuono  in  1488-94  and  somewhat  spoiled  by  restoration,  con- 
tains altar-pieces  by  Borgognone  (1498)  and  Calisto  Piazza  of  Lodi, 
aline  organ-gallery  by  Dan.  Gambriano  (1507),  and  elaborate  choir- 
stalls  by  C.  A.  Lanzani  (ca.  1700). 

From  Lodi  steam-tramways  run  to  Pavia  (via  Sant'  Angelo  Lodigiano), 
to  Bergamo  (via  Treviglio),  and  to  Soncino  {Brescia;  via  Crema). 

Lodi  Vecchio,  the  old  Roman  colony  of  Lmis  Pompeia,  destroyed  by 
the  Milanese  in  1111  and  115S,  lies  31/2  M.  to  the  W.  of  Lodi.  The  un- 
important village  contains  some  Roman  remains  and  two  interesting 
churches:  San  Bassiano,  a  handsome  brick  building  with  15th  cent,  fres- 
coes, and  the  Badia  di  San  Pietro,  also  embellished  with  frescoes. 

321/2  M.  Casalpusterlengo  (branch-line  to  Pavia,  see  p.  205).  — 
351/2  M.  Codogno  (190  ft.),  with  10,300  inhab.  and  a  large  trade  in 
cheese,  is  the  junction  for  a  branch -line  to  Cremona  (see  p.  206). 
—  We  cross  the  Po  immediately  before  reaching  Piacenza. 

42  M.  Piacenza.  —  Hotels.  '■'Alb.  San  Marco  (PI.  a ;  D,  2) ,  Via 
S.  Marco,  R.  3-3'/2,  omn.  3/4  fr- ;  Ceoce  Bianca  (PI.  b;  D,  2),  Via  del 
Dazio  Vecchio,  opposite  the  market,  with  good  restaurant,  R.  2i/2-3'/2, 
omnibus  ^/t  fr. ;  Italia  (PI.  c;  C,  3),  Via  Garibaldi.  —  Cafes.  Roma  and 
others,  in  the  Piazza  de'  Cavalli ;  Caf^.  Grande,  in  the  Corso  Vitt.  Ema- 
nuele  II.  (PI.  C,  3).  . —  '^Railway  Resiavraiit. 

Cab.  Per  drive  70  c. ;  from  the  station  to  the  town  1  fr.  (30  c.  more 
at  night);  per  hr.  IV2  fr. ;  each  box  25  c.  —  Tramway  from  the  station  I0 
the  town. 

Chief  Attractions  (•/«  day):  Palazzo  Municipale;  Cathedral;  Palazzo 
Farnese;  San  Sisto. 

Piacenza  (200  ft.),  with  35,600  inhab.,  the  capital  of  a  province 
and  the  see  of  a  bishop,  lies  1/3  M.  from  the  S.  bank  of  the  Po, 
which  is  crossed  by  a  bridge -of- boats  and  a  railway-bridge.  The 
town  possesses  several  interesting  churches  (closed  12-3). 

Piacenza  was  founded  by  the  Romans,  B.C.  219,  as  Colonia  Placentia, 
in  a  position  commanding  one  of  the  passages  of  the  Po.  which  lent  it 
importance  as  a  fortress  against  the  Gauls.  Cremona  (p.  2C6)  was  founded 
at  the  same  time.  In  the  middle  ages  Piacenza  held  a  high  rank  in  the 
league  of  the  Lombard  towns,  and  was  the  subject  of  fierce  struggles  be- 
tween the  Scotti,  Torriani,  etc.,  until  in  1313  it  was  seized  by  the  Visconti. 


Geivova  ., -Alessandria 


to  Bologna.  PIACENZA.  5U.  Route.    359 

In  1447  it  was  plundered  by  Francesco  Sforza,  a  blow  from  which  it  never 
entirely  recovered.  In  1545  it  finally  came  into  the  possession  of  the 
Farnese  family  and  was  united  to  Parma. 

The  picturesque  Piazza  db'  Cavalli  (PI.  C,  D,  2),  the  chief 
centre  of  traffic,  derives  its  name  from  the  afferted  equestrian 
hronze  Statues  of  the  Diikes  Alessandro  Farnese  (d.  1592;  p.  365^ 
and  Ranurcio  Farnese  (1592-1622),  hy  Francesco  Mocchi  of  Tus- 
cany (1620-25).  —  Behind  the  statues  is  situated  the  *Palazzo 
Comunale,  erected  in  1281  et  seq. ,  and  described  by  Burckhardt  as 
'one  of  the  earliest  instances  of  a  worthy  and  monumental  embodi- 
ment in  stone  and  lime  of  the  growing  spirit  of  miinioipal  indepen- 
dence'. On  the  groundfloor  there  is  a  spacious  marble  arcade  with 
five  pointed  arches;  in  the  upper  floor  are  six  rich  round-arch  win- 
dows (of  terracotta),  above  which  rise  handsome  pinnacles. 

San  Francesco  (PI.  2;  I),  2),  a  brick  edifice  in  the  Piazza,  with 
Gothic  interior,  was  erected  in  1278.  In  front  of  it  a  marble  statue 
of  G.  T).  Romagnosi  (d.  1835) ,  author  of  the  penal  code  for  the 
Napoleonic  kingdom  of  Italy,  was  unveiled  in  1867. 

The  Via  Venti  Settembre  leads  to  the  S.E.  to  the  Piazza  del 
Duomo,  in  which  rises  the  — 

*Cathedral  (PI.  D,  3),  a  Lombard-Romanesque  edifice  dating 
from  1122,  with  a  superstructure  added  in  the  13th  century.  In  the 
fa(;ade  are  three  projecting  porches  (the  central  with  columns  resting 
on  lioTis),  above  which  are  a  circular  window  and  open  galleries  with 
dwarf  pillars.  The  entire  edifice  was  restored  in  1898-1901. 

Inteeioe.  Over  the  main  entrance  is  a  Gothic  reredos  (15th  cent.). 
The  church  contains  admirable  "Frescoes  by  Ouercino  (prophets  and  sibyls) 
in  the  dome,  and  by  Lodovico  Carracci  (angels  strewing  flowers)  in  the 
arches  in  front  of  the  choir.     The  crypt  is  borne  by  100  columns. 

To  the  S.W.  of  the  Piazza  del  Duomo,  at  the  beginning  of  the 
Via  S.  Salvatore,  rises  Sant'  Antonino  (PI.  P,  3),  formerly  the 
cathedral,  dating  from  the  12th  cent,  and  several  times  restored,  the 
last  time  in  1857,  of  curious  irregular  shape.  The  wide  transept  is 
near  the  W.  end  of  the  church,  and  from  its  intersection  with  the 
nave  rises  a  tower  borne  by  eight  massive  round  columns. 

A  modern  inscription  in  the  line  old  Gothic  vestibule,  called  'Para- 
diso'  (1350),  commemorates  the  fact  that  the  delegates  of  the  league  of 
Lombard  cities,  assembled  in  the  church  in  1183,  there  approved  of  the 
Peace  of  Constance. 

To  the  E.  of  the  Piazza  del  Duomo  lies  the  very  ancient  churcli 
of  San  Sanino  (PI.  E,  3),  with  a  freely  modernized  interior.  The 
mosaic  pavement  (10th  cent.?)  in  the  crypt,  with  representations  of 
the  months,  the  signs  of  the  zodiac,  etc.,  repays  a  visit. 

To  the  N.E.  is  the  Palazzo  dei  Tribunali  (PI.  6,  E  2;  formerly 
Landi),  built  by  Giov.  Battagio  (1484).  It  possesses  two  picturesque 
dilapidated  courts,  fragments  of  a  handsome  terracotta  frieze,  and  a 
rich  early-Kenaissance  portal  (on  the  N.E.). 

To  the  N.W.  of  this  palazzo,  at  the  corner  of  the  Via  Fel.  Cavallotti 
and  the  Via  San  Pictro,  lies  the  Biblioteca  Comunale  (PI.  1  ;  D,  2). 


360   Route  50.  PIACENZA.  From  Milan 

The  library  contains  about  120,000  vols,  and  2800  MSS.,  including  a 
valuable  psalter  on  red  parchment,  bound  in  silver,  which  once  belonged 
to  Engilberga,  the  consort  of  Emp.  Lewis  II.  (857),  and  a  copy  of  Dante 
('Codex  Landianus'),  supposed  to  date  from  1336. 

The  Strada  alia  Clttadella,  the  third  turning  to  the  right  out 
of  the  Via  Fel.  Cavallotti,  leads  to  the  huge  Palazzo  Farnese  (PI.  D, 
1,  23,  erected  in  1668  et  seq.  by  Vignola,  for  Duke  Ottavio  Farnese 
(see  below),  hut  never  completed,  and  now  a  barrack. 

The  Via  San  Sisto,  diverging  on  the  right  from  the  Via  Borghetto, 
the  continuation  of  the  Via  Fel.  Cavallotti,  brings  us  to  the  church 
of  *San  Sisto  (PI.  C,  1),  an  ancient  edifice,  rebuUt  in  1499-1511 
in  the  Renaissance  style,  with  a  fine  Ionic  colonnade  in  front  of  the 
baroque  fa?ade. 

About  1515  Raphael  painted  for  this  church  the  Sistine  Madonna  (now  at 
Dresden),  whiclj  was  sold  in  1753  to  Augustus  III.,  King  of  Poland  and 
Elector  of  Saxony,  for  20,000  ducats  and  replaced  by  a  copy  by  Avanzini. 
The  choir  contains  pictures  by  Camillo  Procacciniy  Palma  Oiovane,  etc.,  and 
also  several  much  damaged  intarsias  by  Bart,  da  Busseto.  In  the  left  transept 
is  the  unfinished  monument  of  Margaret  of  Austria  (d.  1586),  daughter  of 
Charles  V.  and  wife  of  Ottavio  Farnese,  Duke  of  Parma,  the  father  of 
Alessandro  Farnese. 

From  the  "W.  side  of  the  Piazza  de'  Cavalli  the  Via  Umberto  leads 
to  the  N.W.  to  the  Museo  Civico  (PI.  C,  2),  opened  in  1903  and  con- 
taining an  archjeological  and  palaeontologioal  i;ollection,  a  fine 
Flemish  piece  of  tapestry,  and  some  good  pictures  (Antonello  da 
Messina,  Ecce  Homo;  Sandro  Botticelli,  Madonna  and  angels). 

Hence  we  proceed  through  the  Via  dl  Campagna,  past  the  church 
of  Santo  Sepolcro  (left;  PI.  B,  2),  a  Renaissaance  structure  of  the 
early  16th  cent.,  and  the  monastery  of  the  same  name,  built  in 
1503  probably  from  designs  by  Bramante,  to  the  church  of  — 

Santa  Makia  di  Campagna  (PI.  A,  1,  2),  an  early-Renaissance 
building  of  the  15th  cent.,  disfigured  by  alterations.  It  contains  ad- 
mirable *Frescoe8  by  Pordenone  (1529-31) :  to  the  left  of  the  entrance 
St.  Augustine,  to  the  right,  St.  George;  in  the  two  chapels  on  the 
left  scenes  from  the  life  of  the  Virgin  and  of  St.  Catharine;  and  in 
the  large  dome  prophets  and  sibyls,  etc. 

From  Piacenza  to  Turin,  see  R.  49. 

Steam  Tramways  from  Piacenza  (starting  near  the  railway -station) : 
1.  To  (i9'/4  M.)  Cremona,  see  p.  203.  —  2.  To  C'ortemaggiore  (p.  361).  —  3. 
Via  |12  M.)  Garpaneto  and  (20M.1  Castellarquato  (p.  361(  to  (23  M  )  Lngagnano 
(760  It.;  p.  36t),  in  the  valley  of  ih&  Arda.  —  4.  Via  (10  M.)  Orazzano  and 
(15  M.)  Ponte  delV  Olio  (Albergo  del  Sole ,  poor) ,  in  the  Val  di  Nure ,  to 
(22'/2  M.)  Bettola  (Alb.  dell'  Agnello,  rustic).  —  5.  Via  (ISVs  M.)  Castel  San 
Oiovanni  and  (17  M.)  Borgonovo  to  (24  M.)  Pianello  (fiC5  ft.)  in  the  Tidoiie  Valley. 

About  9  M.  to  the  S.E.  of  Ponte  dell'  Olio  (see  above),  but  more  con- 
veniently reached  by  the  Lugagnano  tramway  (see  above),  lie  the  remains 
of  the  ancient  town  of  Vellela,  which  is  believed  to  have  been  buried  by 
a  landslip  in  the  reign  of  the  Emp.  Probus  (about  278  A.D.).  An  amphi- 
theatre, temple,  forum,  and  some  Ligurian  tombs  of  the  pre-Roman  epoch 
were  excavated  hero  in  1760-76. 

From  Grazzano  (see  above)  a  narrow-gauge  line  runs  to  (5  M.)  Rivergaro 
(460  ft.),  situated  in  the  valley  of  the  Trebbia,  on  the  highroad  from  Piacenza 
to  (88  M.)  Genoa.     Beyond  Rivergaro  the  road  ascends  the  Trebbia  to  the 


to  Bologna.  BOKGO  SAN  DONNINO.      50.  Route.    361 

S.W.,  via  (ITVa  M.) -Boftftio  (915  ft.),  once  noted  for  its  convent-library  (for 
the  most  part  now  in  the  Vatican),  and  (35V2  M.)  Ottone  (1670  ft. ;  Alb.  Konia, 
R.  1  fr.),  to  (56  M.)  Torriglia  ('2505  ft.;  Alb.  Corona  d'ltalia,  and  others; 
omn.  to  Genoa  twice  daily),  a  summer- resort  prettily  situated  among 
meadows.  The  Monte  Antola  (5245  ft.;  refuge-hut  and  extensive  view)  may 
be  ascended  hence  in  2V2  hr.i.  by  a  bridle-path.  The  road  then  descends, 
beyond  the  (61  M.)  Colle  delta  Scoffeva  (2225  ft  ),  into  the  Bisagno  valley, 
pa<<sing  Bargagli  (1345  ft.).  Prato  (tramway  to  Genoa  see  p.  77),  Doria 
(255  ft.),  and  Staglieno  (p.  94).  —  88  M.  Oenoa,  see  p.  75. 


The  Railway  fkom  Piacbnza  to  Bologna  follows  the  direc- 
tion of  the  Via  jEmilin  (comp.  p.  356),  several  traces  of  which  still 
exist.  View  of  the  Apennines  on  the  right.  To  the  left  lies  San 
Lazzaro,  now  the  Collegio  Alberoni.  The  church  contains  the  tomb 
of  Cardinal  Alberoni  (1664-1752),  the  all-powerful  minister  of 
Philip  V.  of  Spain  in  1711-19. 

Near  (481/0  ^^-1  Pontenure  (210  ft.)  the  train  crosses  the  Nure, 
and  soon  passes  Fontana  Fredda,  where  Theodoric  the  Great  and 
the  Lombard  kings  once  possessed  a  country -residence.  Beyond 
(52  M.)  Cadeo  the  Arda  is  crossed.  —  56  M.  Fiorenzuola  d  Arda 
(270  ft.),  a  small  but  thriving  place. 

From  Fiorenzuola  a  light  railveay  rnns  in  one  direction  via  (5  M.) 
Corlemaggiore,  containing  altar-pieces  by  Pordenone  in  the  Chiesa  dell' 
Annunziata,  and  two  tombs  of  the  school  of  Amadeo  in  the  parish  church, 
to  (tS>/2  M  )  Cremona  (p.  206);  and  in  the  other  direction  via  (6  M.)  Caslellar- 
quiUo  (p.  360)  to  (9Vs  M.)  Lugagnano  (p.  360).  The  interesting  little  town  of 
Castellarquato  po.ssesses  a  castle  of  the  Visconti  and  a  Palazzo  Comunale, 
both  dating  from  the  14th  centnry.  In  the  Chiesa  Principale  are  old  MSS. 
and  a  magnificent  crucifix  (16th  cent.);  the  pretty  cloi.sters  adjoining  the 
church  date  from  the  I3th  century. 

The  village  of  CMaravalU,  31/2  M.  to  the  E.  of  Fiorenzuola  (carriage- 
road),  possesses  one  of  the  finest  cloisters  in  the  Emilia  (ca.  1400),  adjoining 
the  G-othic  parish  chnrch. 

641/2  M.  Borgo  San  Sonnino  (235  ft.;  Aquila  Romana;  Leon 
d'  Oro')^  a  small  town  of  6300  inhab.,  the  ancient  Fidentia  Julia, 
which  received  its  present  name  in  387  from  St.  Domninns,  who 
had  suffered  martyrdom  about  a  century  earlier,  under  Maximian, 
and  to  whom  the  ancient  *Cathedral  is  dedicated.  This  is  one  of 
the  finest  Romanesque  churches  in  N.  Italy;  the  admirable  fa9ade 
(the  upper  part  unfinished)  has  three  lion-portals  and  numerous 
reliefs  (some  by  Benedetto  Antelami,  p.  366). 

Steam-tramways  connect  Borijo  S.  Donnino  with  Soragna  (p.  3701,  51/2  M. 
to  the  N.E.,  and  with  Salsomaggiore  (540  ft.;  *Gr.  UHt.  des  Thermet,  R. 
from  31/2,  B.  11/2,  dcj.  3'/2,  D.  5,  pens,  from  10  fr. ;  Hdt.  Central  Bagni,  pens, 
from  10  fr. ;  Or.  mt.  0.  Delraz,  these  three  of  the  flr.'it  class;  Or.  Alb. 
MUano;  IlOt.  Cavoui;  pens.  8V2-9V2  fr. ;  Hdt.  Bellevue,  etc.),  6  JI.  to  the  S.W., 
a  watering-place  pleasantly  situated  among  the  foothills  of  the  Apennines, 
scattered  over  which  are  many  castles.  The  strong  saline  and  sulphurous 
springs  have  recently  come  into  favour  with  foreigners  as  well  as  Italians 
(season,  1st  April-15th  Nov.).  Cable-railway  up  Monte  Cucco  (920  ft.)  to 
the  S.E. 

70  M.  Castelguelfo,  with  a  ruined  castle  erected  by  the  Ghibol- 
line  Orlando  Pallavicino  as  Torre  d'  Orlando,  but  captured  in  1407 
and  re-named  by  the  Guelph  Ottone  Terzi  of  Parma.  ^-  At  (72  M.) 


362   Route  50.  REGGIO.  From  Milan 

Ponte  Taro  (230  ft.)  we  cross  the  river  Taro.  The  costumes  of  the 
peasant-women  here  are  peculiar. 

78  M.  Parma,  see  p.  364.  —  Parma  is  the  junction  for  the  lines 
to  Suzzara  and  Mantua  (see  p.  263),  to  Piadena  and  Brescia  (p.  218), 
and  to  Sarzana  (Pisa)  and  Spezia  (p.  105). 

Beyond  (82  M.)  San  Prospero  Parmense  the  train  crosses  the  Enza, 
formerly  the  boundary  between  the  duchies  of  Parma  and  Modena, 
and,  beyond  (85  M.)  Sant'  llario  cCEnza  (190  ft.),  the  Crostolo. 

95 V2  M.  Heggio.  —  Hotels.  Albekgo  Posta  (PI.  a;  C,  3),  near 
the  Piazza  Vittorio  Emanaele,  R.  2V2-3  fr.,  tolerable;  Alb.  del  Moretto.  — 
Ca^t'  Italia,  Piazza  Cavour. 

Cab,  per  drive  80  c,  at  night  1  fr.,  per  honr  I'/z  fr. 

Chief  Attractions  (V2  day):  San  Prospero;  Cathedral;  Madonna  della 
Ghiara. 

Reggie  (190  ft.),  called  Reggio  neW  Emilia  or  Reggio  Emilia  to 
distinguish  it  from  Reggio  in  Calabria,  the  ancient  Regium  Lepidi, 
the  capital  of  a  province  and  the  seat  of  a  bishop,  is  a  poor  town 
of  19,700  inhab.,  possessing  broad  streets  flanked  with  arcades. 
From  1289  to  1597  it  belonged  to  Ferrara,  after  that  to  Modena 
(p.  372). 

In  the  Via  Emilia  San  Pietro,  the  E.  part  of  the  ancient  Via 
^Emilia  (p.  356),  which  intersects  the  town,  rise  the  suppressed 
Benedictine  convent  of  San  Pietro  (PI.  E,  3,  4 ;  now  a  military 
store),  with  graceful  early -Renaissance  cloisters  by  Bart.  Spani 
(1513),  and  the  Palazzo  Terrachini ,  formerly  called  Casa  Ruini 
(same  date),  which  possesses  three  pretty  early-Renaissance  courts. 

A  few  paces  to  the  S.  of  the  main  street,  in  the  Piazza  San 
Prospero,  is  the  church  of  San  Prospebo  (PI.  C,  3),  erected  in 
1504  by  Oasparo  Bisi  on  the  site  of  an  earlier  Romanesque  edifice, 
to  which  the  six  marble  lions  of  the  fa9ade  (rebuilt  in  1748)  orig- 
inally belonged. 

Interior.  Over  the  entrance,  is  the  tomb  of  Ruflno  Gabloneta  (d.  1527), 
by  Bart.  Spani.  By  the  4th  altar  on  the  right:  Sodoma,  ;'St.  Homobonus 
giving  alms  (1518);  5th  altar:  Copy  of  Correggio's  Holy  Night  (now  in 
Dresden),  in  the  original  frame.  —  Eight  Transept:  Statue  ot  the  Ma- 
donna, by  Prospero  Clementi  (d.  1584),  grandson  of  Bart.  Spani  and  pupil 
of  Michael  Angelo.  —  In  the  Choik  are  frescoes  (restored)  by  Bern.  Campi 
of  Cremona  and  Camillo  Procaccini  (1585-89). 

In  the  adjacent  Piazzza  Vittorio  Emanuele  is  situated  the 
Cathbdeal  (pi.  C,  3),  re-erected  in  the  15-16th  cent.,  with  a  Re- 
naissance facade,  completed  only  in  the  lower  part,  behind  which 
interesting  traces  of  the  earlier  Romanesque  church  of  the  12th  cent, 
with  frescoes  of  the  13th,  are  still  observable.  Above  the  principal 
entrance  are  recumbent  statues  of  Adam  and  Eve  by  Prospero  Cle- 
menti. Near  the  top  of  the  tower  is  a  group  in  copper  (Madonna 
and  two  donors),  by  Bart.  Spani  (ca.  1500?). 

The  Interior  has  a  lofty  choir  and  a  crvpt.  In  the  3rd  chapel  on  the 
right:  Tomb  of  Valeric  Malaguzzi  (d.  1498),  by  Bart.  Spani  (ca.  1530). 
Chapel  to  the  right  of  the  choir:  Monument  of  Ugo  Rangoni,  Bishop  of 
Reggio,  and  nuncio  of  Paul  III.  at  the  court  of  Charles  V.,  by  P.  Clementi 
(1566).     Chapel   to   the  left  of  the  choir:   Tomb   of  Bishop  Baonfrancesco 


to  Bologna.  KEOGIO.  60.  Route.    363 

Arlotti  (d.  1508),  by  Bart.  Spani;  admirable  statue  of  Christ,  on  the  altar,  by 
P.  Clementi.  Near  the  entrance,  in  the  left  aisle,  Monument  of  Clierubino 
Sforssani,  (he  alleged  inventor  of  the  hour-glass,  by  P.  Clementi  (ibGO); 
beside  the  Igt  chapel  in  the  same  aisle  is  the  tomb  of  Clementi,  with  his 
bust,  by  his  pupil  Franc.  Pacchioni  (15881.  —  In  the  Cappella  del  Santuario, 
near  the  sacristy,  are  two  silver  reliquaries  with  busts  of  St.  Chrysanthus 
and  St.  Daria,  by  Bart.  Spani  and  his  son  Giov.  Andrea  Spani  (1538);  also  a 
silver  pax,  by  Lelio  Orti. 

On  the  W.  side  of  the  piazza  is  the  house  in  which  Lodovico 
Ariosto  (1474-1533;  p.  379),  the  poet,  is  saiti  to  have  been  born. 
His  father,  Niccolo  Ariosti  of  Ferrara,  was  commandant  of  the  cita- 
del at  the  time.  —  Proceeding  hence  to  the  "W.  by  the  Via  San 
Pietro  Martire,  we  reach  the  church  of  the  — 

*Madonna  della  Ghiaea  (pi.  A,  B,  3),  built  about  1597  from  a 
design  by  Balbi,  in  the  form  of  a  Greek  cross  covered  with  a  dome. 
It  was  finished  after  Balbi's  death  by  Franc.  Pacchioni,  and  was 
restored  in  1890  (closed  12.30-4). 

The  iNTEKioK  is  distinguished  for  the  beauty  of  its  proportions  and 
for  its  charming  decorations  in  stucco.  It  is  adorned  with  frescoes  in  the 
nave  as  far  as  the  dome  and  in  the  left  transept  by  Luca  Ferrari  (l()05-54) 
of  Reggio,  a  pupil  of  Guido  Reni.  The  frescoes  in  the  choir  are  by  Tiarini 
and  those  in  the  dome  and  the  right  transept  are  by  Lionello  Spada.,  both 
of  the  school  of  the  Carracci.  In  the  left  transept  is  a  fine  Crucifixion 
(altar-piece),  by  Ov^rcino;  and  in  the  right  tra-nsept  is  a  highly-revered 
figure  of  the  Madonna,  drawn  by  Lelio  Orsi  (1569;  covered). 

The  Musexim  (Pl.  C,  2)  contains  the  natural  history  collection  of 
the  celebrated  Lazzaro  Spallanzani  (1729-99;  b.  at  Scandiano,  see 
below),  an  interesting  palseo-ethnological  collection  illustrative  of 
the  history  of  the  province,  and  a  'Gliptoteca',  containing  sculp- 
tures from  Reggio  and  its  vicinity.  —  The  Biblioteca  Municipale 
(Pl.  2  ;  B,  4)  Via  Farini  5,  contains  56,000  vols,  and  about  1000  MSS. 

Excursion  to  Canossa  (see  inset  map  on  the  plan  of  Reggio),  8-9  hrs. 
there  and  back ;  carriage  with  one  horse  12-15,  with  two  horses  20-25  fr. 
(luncheon  should  be  brought  from  Reggio).  The  drivers  usually  prefer  the 
route  via  Quntlro  Castella,  with  the  ruins  of  four  castles  which  once  be- 
longed to  the  Countess  Matilda  of  Tuscany  (d.  1115),  San  Polo  d'Enza 
(p.  370),  and  Vico^  to  Ciano  d'Fnza  (inn),  whence  a  bridle-path  ascends 
via  Ro'sena,  with  a  well-preserved  castle,  to  the  castle  of  Cano.^sa.  The 
drive  via,  Pnianello  ani  Pecorile  (785  ft.)  is,  however,  prettier,  and  beyond 
the  latter  village  the  route  (on  horseback  or  on  foot)  cannot  be  mistaken. 
The  path  leads  through  the  village,  and  then  to  the  right  towards  the 
church  of  Casola ,  which  is  left  on  the  hill  to  the  right;  at  the  angle 
of  the  hill  Canossa  comes  in  sight,  and  the  path  leads  in  the  direction 
of  the  village  along  the  Campola.  The  walk  to  the  foot  of  the  castle-hill 
takes  1  hr. ;  we  then  ascend  for  '/^  hr.  in  the  direction  of  the  church 
of  San  Paolo,  which  lies  three-quarters  of  the  way  up  the  hill,  follow  a 
level  path  round  the  castle-rock  and  at  the  back  of  the  small  village  of 
Canossa,  and  lastly  mount  to  the  summit  of  the  rock  ,  which  is  crowned 
by  the  scanty,  ivy-clad  ruins  of  the  castle  of  Canossa.  The  castle  once 
belonged  to  the  Countess  of  Tuscany  above  mentioned,  and  was  destroyed 
by  the  inhabitants  of  Reggio  in  1255.  The  Emp.  Henry  IV.  performed 
penance  here  in  presence  of  Pope  Gregory  VII.  during  three  days  in  1077. 
Magnificent  view  of  the  Apennines  towards  the  S.,  with  the  castle  of  Rosscna 
in  the  foreground,  and  of  the  vast  plain  of  the  Po  towards  the  N.,  with 
Parma,  Reggio,  and  Modena.  —  From  Canospa  to  Porma  via  San  Polo 
dEnza  and  Travcrsetolo,  see  p.  370. 


364   Route  51.  PARMA.  Hotels. 

The  Excursion  to  the  Pietba  Bismantova  from  Reggie  takes  two 
days.  We  proceed  by  diligence  (in  1905  startiug  at  5.30  and  returning  at 
8.30  a.m.)  along  the  i-oad  via  Puianello  (see  p.  363),  Casina  (1880  ft.),  and 
Felina  to  (317?  M. ;  in  8  hrs.)  the  inconsiJerable  town  of  Castelnuovo  ne  Monti 
(22i)5  ft.;  Tre  Re,  R.  80c.),  on  the  N.W.  flank  of  the  abrupt  pocky  peak 
of  the  Pietra  Bismantova  (3435  ft.),  which  Dante  mentions  in  bis  'Purga- 
torio'  (IV.  25).  The  top  affords  an  admirable  view  of  the  chain  of  the 
Apennines.  —  From  Castelnuovo  the  highroad  runs  viii  (451/2  M.)  Collagna 
(2i20  ft.),  in  the  valley  of  the  Secckia,  and  thence  via  the  (53  M.)  Pasto  del 
Cerreto  (4140  ft.)  to  (6'4V2  M.)  Fivizzano  (1045  ft.),  with  an  old  town  wall 
and  the  ruins  of  a  castle.  Thence  it  proceeds  via  the  (77  M.) /''oce  i?  Cuccu 
(1730  ft.)  and  (79  M,)  Fosdinovo  (1640  ft.),  a  finely  situated  village  with  a 
town  wall  and  a  castle  of  the  Malaspina,   to  (8i  M.)  Sarzana  (p.  119). 

From  Reggio  to  Gcastalla,  13  M.,  railway  in  I-IV4  hr.  (fares  3  fr.  40, 
2  fr.  40,  1  fr.  55  c).  —  5  M.  Bagnolo  in  Piano;  11  M.  Novellara,  on  the 
Canale  di  MoUniy  a  principality  of  the  house  of  Gonzaga  (p.  257)  down  to 
1737.  —  18  M.  Ouastalla,  see  p.  263. 

From  Bagnolo,  on  the  railway  just  described,  a  branch-line  runs  to 
(12  M.)  Carpi  (p.  264).  The  chief  intermediate  station  is  (51/2  M.)  Correggio 
(Albergo  Cnvour).  the  capital  until  1630  of  a  principality  afterwards  be- 
longing to  the  Duchy  of  Modena,  and  the  birthplace  of  the  celebrated 
painter  Antonio  Allegri  da  Correggio  (1494-1534).  The  Piazza  San  Quirino 
is  embellished  with  a  statue  of  the  master  by  V.  Vela,  erected  in  1880. 

Another  branch-line  runs  to  the  S.E.  from  Reggio  to  Scandiano  and 
(141/2  SI.)  Sassuolo  (p.  376). 

103  M.  Rubiera.    The  Secchia  is  then  crossed. 

Ill  M.  Modena,  see  p.  372. 

The  train  crosses  the  Panaro.  —  118'/2  M.  Castelfranco  d'Emilia 
[135  ft.),  a  small  town,  supposed  to  be  the  Forum  Gallorum  where 
Antony  was  defeated  by  Octavian  and  Hirtius,  B.  C.  43.  Near 
(123  M.J  Samoggia  the  train  crosses  the  river  of  that  name,  and 
then  the  narrow  Reno^  the  ancient  Rhenus^  or  Amnis  Bononien^is. 
The  Madonna  di  San  Luca,  on  the  Monte  delta  Ouardia  (p.  406), 
is  conspicuous  to  the  right. 

134  M.  Bologna,  see  p.  386. 

51.  Parma. 

The  Railway  Station  (PI.  D,  1 ;  Restaurant)  for  the  Piadena-Brescia 
(p.  218),  Guastalla-Suzzara-Mantua  (p.  263),  Milan-Bologna  (R.  50),  and 
Milan-Parma-Sarzana  (Spezia,  Pisa;  R.  52)  lines  lies  at  the  N.  end  of  the 
town,  about  V*  M.  from  the  hotels. 

Hotels.  Albergo  Croce  Bianca  (PI.  a;  D,  4),  Strada  Garibaldi,  near 
the  Steccata,  R.  3-3V2,  omn.  1  fr. ;  Italia  (PI.  b ;  E,  3),  Via  Cavour,  with 
good  trattoria,  R.  2-4,  omn.  ^Iiir. ;  Concordia,  Borgo  Angelo  Mazza(Pl. D,  3), 
near  the  last ;  Leon  d'Oro,  Borgo  del  Leon  d'Oro  (PI.  B,  3,  4),  near  the 
Corso  Vittorio  Emanuele;  Albergo  Marchesi,  near  the  rail,  station,  clean 
and  moderate. 

Cafes.  Marchesi^  Piazza  Grande ;  Cavour,  Via  Cavour.  —  Post  Office 
(PI.  D,  3),  Pia/za  della  Prefettura. 

Cab  to  or  from  the  station  1  fr.,  two-horse  1  fr.  60  c.;  at  night  I'A  or 
2  fr. ;  per  hour  1  fr.  60  c.  Trunk  25  c.  —  Omnibus  from  the  railway-station 
to  the  Piazza  Garibaldi   and   the  Corso  Vitt.  Emanuele  every  20  minutes. 

Parma  (170  ft.),  situated  on  the  river  Parma,  a  small  tributary 
of  the  Po,  the  capital  of  a  province  (formerly  a  duchy),  is  an  in- 
dustrial town  of  entirely  modern  appearance,  but  of  very  ancient 


Wa^BT  t  Dflbps ,  Leips 


Cathedral.  PARMA.  57.  Route.    365 

origin,  with  broad  streets,  and  46,700  inhabitants.  It  is  a  bishop's 
see  and  possesses  a  university  founded  in  1422. 

The  foundation  of  Parma  is  probably  to  be  ascribed  to  the  consul 
M.  ^milius  (B.C.  183),  though  the  discovery  of  a  lake-dwelling  of  the 
bronze  period  proves  that  a  human  eettlement  existed  here  in  prehistoric 
times.  The  town  offered  a  determined  resistance  to  the  attacks  of  the 
Ligurians ,  but  it  was  destroyed  by  Mark  Antony  as  the  birthplace  of 
Cassitts,  one  of  Cfesar's  murderers.  Under  Augustus,  who  named  it  Colonia 
Julia  Augusta  Parma,  it  attained  to  new  prosperity ;  and  repeated  devast- 
ations in  the  early  middle  ages  proved  only  temporary  checks  to  the 
growth  of  its  importance,  which  arose  mainly  from  its  woollen  manu- 
factories. Parma  participated  in  the  general  development  of  the  towns 
of  Upper  Italy,  zealously  espoused  the  cause  of  the  Guelphs,  and  in 
1247-4S  was  long  unsuccessfully  besieged  by  Emp.  Frederick  II.  In  1303 
Qiberto  da  Correggio  obtained  possession  of  the  supreme  power.  In  1346, 
after  various  vicissitudes,  Parma  came  into  the  hands  of  the  Visconti, 
and  from  that  period  down  to  1512  it  was  generally  united  with  the  Duchy 
of  Milan.  In  1545,  after  it  had  been  anne.xed  to  the  States  of  the  Church, 
it  was  presented  by  Pope  Paul  III.,  with  Piacenza,  to  his  infamous  son 
Pier  Luigi  Farnese.  This  prince  was  assassinated  in  1547,  and  was  suc- 
ceeded by  seven  dukes  of  his  family,  including  Alexander  Farnese  (158b-92). 
who  took  part  in  the  battle  of  Lepanto  (1571)  and  afterwards  attained 
great  military  distinction  as  Viceroy  of  the  Netherlands  under  Philip  11. 
The  male  line  became  extinct  in  1731.  Elizabeth,  the  daughter  and  sole 
heiress  of  Duke  Ranuccio  II.  (d.  1B94),  was  married  to  King  Philip  V.  of 
Spain,  and  by  the  quadruple  alliance  concluded  at  London  in  1718,  the 
succession  was  secured  to  their  son  Charles,  who,  however,  ascended  the 
throne  of  Naples  in  1734,  and  deprived  Parma  of  many  treasures  of  art 
which  now  grace  the  national  museum  at  Naples.  By  the  Peace  of  Aix- 
la-Chapelle  in  1748  the  duchy  was  ceded  by  Austria  to  his  younger  brother 
Philip;  in  1807  it  was  annexed  to  France,  and  in  1815  awarded  to  Marie 
Louise,  the  wife  of  Napoleon  I.  In  1847,  after  her  death,  it  came  into  the 
possession  of  the  Bourbons,  who  had  hitherto  been  indemnified  with  Lucca. 
Charles  II.  (d.  1883)  was  banished  in  1848,  Charles  III.  was  assassinated  in 
the  open  street  in  1854,  and  in  1859  his  widow  withdrew  along  with  the 
Austrian  garrison.  The  Duchy  covered  an  area  of  2216  sq.  M.,  and  had 
a  population  of  about  half-a-million  souls. 

Parma  owes  its  importance  in  the  Histort  of  Akt  to  Anlonio  Allegri 
of  Correggio  (1494-1534;  p.  364),  who,  after  his  early  studies  in  Ferrara, 
lived  here  in  a  quiet  and  modest  style,  and  died  early.  It  was  not  till 
a  later  period,  when  he  was  followed  by  the  Carracci,  that  his  merits  were 
duly  appreciated  (characteristics,  see  p.  Ix).  The  best-known  of  his  pupils 
is  Francesco  Mazzola,  surnamed  Parmigianino  (1503-40),  an  excellent  portrait 
painter,  and  a  native  of  Parma. 

The  ancient  Via  Emilia  (p.  356)  intersects  the  town,  from  the 
Barriera  Vittorio  Emanuele  (PI.  G ,  4)  to  the  Barriera  Massimo 
d'Azeylio  (PI.  A,  4),  crossing  the  Piazza  Gabib.'^ldi  (PI.  D,  4),  in 
which  stand  the  Palazzo  del  Ooverno  and  the  Palazzo  Municipale, 
built  after  1627  by  Giov.  Batt.  Magnani.  In  front  of  the  latter  are 
statues  of  Correggio,  by  Ferrarini  (1870),  and  Oaribaldi,  by  Calandra 
(1893).  —  A  little  to  the  N.E.,  in  the  Piazza  delDuomo,  rises  the  — 

♦Cathedral  (7i  Duomo;  PI.  E,  3),  an  admirable  example  of 
the  Lombard-Romanesque  style,  begun  in  1058,  but  not  completed 
till  the  13th  century.  It  is  a  cruciform  building  covered  with  a 
dome,  with  a  somewhat  raised  choir  above  a  crypt,  and  abroad  facade 
with  a  triple  columnar  gallery.  Each  of  the  portals  is  embellished 
with  two  lions  of  re'l  marble ;  the  main  portal  is  by  Oiov.  Bono  of 


366    Route  51.  PARMA.  Baptistery. 

Bissone  (1281 )  and  tlie  Renaissance  doors  are  by  Lucchino  Bianco 
(1493). 

The  Interior,  consisting  of  nave  and  aisles,  rests  on  fourteen  piers, 
above  which  runs  a  fine  triforium.  The  vaulting  of  the  nave  was  painted 
by  Girolamo  Mazzola  and  by  Lattanzio  Oambara  of  Bresi  ia  (ca.  1570). 
3rd  chapel  on  the  right,  a  Descent  from  the  Cross  in  relief  by  Benedetto 
Antelami  (1178);  4th  chapel,  frescoes  of  the  15th  cent. ;  5th  chapel,  frescoes 
by  Franc.  Rondani,  a  pupil  of  Correggio.  —  5th  chapel  on  the  left,  fres- 
coes of  the  14th  cent.,  on  the  left  History  of  St.  Peter,  on  the  right 
Histories  of  SS.  Sebastian  and  Catharine. 

The  octagonal  Dome  is  adorned  with  an  Assumption  by  Correggio  (1526- 
30),  unfortunately  much  injured  by  damp  (best  light  about  noun).  'It 
seems  as  if  some  mighty  upward  impulse  had  impelled  the  whole  armies 
of  Christendom  to  soar  away  from  earth  in  joyful  bliss.  A  striking  feature 
of  the  work  is  that  the  Bgures  seem  to  cleave  the  vaulting  and  to  be  in 
the  act  of  forcing  their  way  out  of  the  church-walls  into  bright  ether. 
The  masterly  and  almost  playful  manner  in  which  the  greatest  difficulties 
in  the  work  have  been  overcome  has  ever  been  an  object  of  the  highest 
admiration'.  —  ^Correggio',  by  Dr.  Julius  Meyer.  Visitors  may  ascend  into 
the  dome  to  examine  the  painting  more  closely  (V2  1  fr.;  fatiguing  but 
attractive);  a  fine  view  is  commanded  from  the  outside  gallery  (for  persons 
free  from  dizziness). 

In  the  Choir  are  good  semi-Gothic  stalls  by  Crisloforo  da  Lendinara 
(1473).  —  The  Crtpt,  a  spacious  cruciform  structure  with  thirty  -  eight 
columns,  contains  monuments  of  the  jurist  Prati  (d.  1542),  and  of  Bishop 
San  Bernardo  degli  Uberti,  by  Prospero  Clementi.  —  The  Sackistt  contains 
frescoes  of  the  14th  cent.,  and  intarsias  by  Cristof.  da  Lendinara. 

The  octagonal  *Baptistery  (Battistero;  Pi.  E,  3),  on  the  S.  side 
of  the  Piazza  del  Duomo,  was  begun  in  the  Lombard-Romanesque 
style  in  1196-1216  by  Ben.  Antelami  and  consecrated  in  1270, 
though  the  Gothic  upper  story  was  not  completed  until  1302.  It 
is  constructed  of  Veronese  marble,  and  consists  of  five  stories  with 
colonnades  and  three  exterior  round-arched  portals;  the  flat  roof  is 
surmounted  by  seven  pyramidal  turrets  and  by  a  belfry  added  in 
the  17th  century.  Around  nearly  the  whole  exterior  of  the  building 
runs  a  series  of  medallions,  representing  various  animals  of  sym- 
bolical import.  The  portals  are  adorned  with  Scriptural  subjects  on 
a  larger  scale,  by  Ben.  Antelami,  who  is  named  in  the  inscription 
at  the  N.  portal  (towards  the  Piazza). 

At  the  N.  Portal,  above,  is  the  Adoration  of  the  Magi;  then  the  History 
of  John  the  Baptist;  on  the  door-posts  are  genealogical  trees  of  Jacob  and 
of  Jesse.  —  At  the  W.  Portal,  above,  a  curious  representation  of  the  Last 
Judgment.  On  the  door-posts  to  the  left,  Christ  performing  works  of 
mercy;  on  the  right,  the  six  ages  of  man.  —  On  the  S.  side  is  an  Allegory 
of  Death  from  the  story  of  Barlaam  and  Josaphat. 

The  Interior  (closed;  key  in  the  house  No.  2,  opposite  the  S.  entrance) 
is  sixteen-sided,  with  thirteen  niches  and  three  doorways  below  and  two 
galleries  above,  and  graceful  columns  on  the  walls.  The  sculptures  have 
been  only  partly  completed.  Above  the  doors  are  sculptures  of  the  13th  cent., 
and  on  the  E.  side  of  the  lower  galleries  is  a  series  of  'Beliefs  of  the 
months  (incomplete)  and  other  works  of  the  13th  century.  The  Roman- 
esque frescoes  in  the  dome  (13th  cent.),  representing  the  history  of  John 
the  Baptist  and  prophets,  are  of  interest  to  students  of  art.  —  The  whole 
population  of  Parma  since  1216  is  said  to  have  been  baptised  here.  The 
font  dates  from  1294. 

The  church  of  *San  Giovaiuii  Evangelista  ( PL  E,  3),  belong- 
ing to  an  ancient  Benedictine  monastery,  which  is  now  a  barrack,  is 


Pal.  della  Pilotta.  PARMA.  5J.  Route.   367 

ail  elegant  cruciform  early  -  Renaissance  structure ,  covered  by  a 
dome,  with  aisles  and  two  series  of  chapels.  It  was  erected  in  1510 
hy  Bernardino  Zaccagni ;  the  handsome  baroque  facade  is  by  Simone 
Moachino  (1604),  and  the  tower  by  6.  B.  Magnani  (1614). 

Interior.  In  the  first  two  chapels  on  the  left,  Frescoes  by  Pui-migia- 
nino  (SS.  Lucia  and  Apollonia,  two  deacons,  SS.  Giorgio  and  Agata);  in 
the  2nd  chapel  on  the  right,  an  Adoration  of  the  Shepherds,  by  Giacomo 
Francia,  1519.  In  the  recesses  of  the  transepts  are  four  terracotta  statues 
by  Ant.  Begarelli  (1561);  to  the  left,  Madonna  and  St.  John  the  Evangelist, 
to  the  right,  St.  Felicitas  and  St.  Benedict.  —  The  sombre  Dome  is  adorned 
with  -Frescoes  by  Correygio,  representing  Christ  in  glory,  surrounded  by 
apostles  and  angels,  painted  in  1521-23  (freely  restored  in  parts  in  1901-4). 
The  best  time  to  see  them  is  at  noon  or  4  p.m.;  they  are  also  shown  by 
electric  light  in  the  evening  for  3-S  fr.  (copies  in  the  picture-gallery,  see 
p.  368).  The  half-dome  of  the  Choir,  containing  a  Coronation  of  Mary  by 
Correggio,  was  removed  in  1584  (the  original  of  the  principal  group  is  in 
the  Library,  p.  3G9;  copies  of  other  parts  are  in  the  picture-gallery,  see 
p.  368).  The  new  dome  of  the  choir  was  adorned  with  a  copy  of  the 
complete  work  by  Ces.  Aretusi.  The  handsome  choir-stalls  are  by  Zucchi 
and  Testa  (1512-3S).  In  the  archway  of  the  door  of  the  sacristy  (left  tran- 
sept), °St.  John  the  Evangelist  by  Correggio  (1521?).  —  The  picturesque 
cloisters  (to  the  left  of  the  church)  are  not  accessible. 

A  few  paces  to  the  N.W.  of  the  Piazza  Garibaldi,  in  a  small 
piazza,  stands  the  *Madoiiiia  della  Steccata  ( PI.  D,  3),  an  imitation 
of  St.  Peter's  (a  Greek  cross  with  rounded  ends),  buUt  by  Bernar- 
dino Zaccagni  in  1521-39. 

Intekiob.  In  the  corner-chapel  between  the  choir  and  the  left  transept, 
monuments  (r.)  of  Duke  Otlavio  Farnese  and  Q.)  of  Sforzino  Sforza,  the 
latter  by  Oiov.  Franc,  da  Grado  (1529).  The  archway  of  the  choir  is  adorned 
with  frescoes  by  Parmigianino,  the  dome  with  paintings  by  Bern.  Gatti  of 
Cremona,  and  the  tribune  with  frescoes  by  Anselmi.  Corner-chapel  on  the 
right  of  the  choir:  monument  of  Guido  da  Correggio,  by  6.  Fr.  da  Grade: 
the  Ist  chapel  on  the  right  contains  the  monument  of  Beltrando  Rossi  (1527). 

The  Piazza  adjoining  the  church  is  adorned  with  a  Monument  to 
Francesco  Mazzola,  surnamed  Parmigianino  (p.  365),  the  painter, 
by  Giov.  Chierici,  erected  in  1879. 

In  the  Piazza  dblla  Prefbttdea  (PI.  D,  3),  with  its  pretty 
gardens,  are  a  Statue  of  Victor  Emmanuel  II.  and  the  old  Palazzo 
Ducale,  now  the  seat  of  the  Prefettura. 

To  the  N.W.  of  the  Prefettura  is  the  Palazzo  della  Pilotta 
(PL  D,  3),  an  extensive  block  of  buildings,  begun  in  1597  by  the 
Farnese,  but  never  completed,  containing  a  very  interesting  collec- 
tion of  antiquities  and  pictures  as  well  as  a  considerable  library  (we 
cross  the  court  and  ascend  a  broad  flight  of  steps  to  the  left). 

In  the  entresol  is  the  Mused  di  Antichita  (open  daily  10-4, 
adm.  1  fr. ;  on  Sun.  and  festivals  10-2,  gratis). 

I.  Room.  Collection  of  Coins.  The  two  glass-cases  contain  Parmesan 
coins  and  medals.  —  II.  Room.  Bronzes  from  Velleia  (p.  360)  and  Parma; 
in  the  case  to  the  right  of  the  window,  "Drunken  Hercules,  Bacchus, 
Alexander  the  Great,  Victoria.  Opposite,  golden  necklaces,  bracelets,  and 
clasps  of  the  later  imperial  epoch.  On  the  back-wall,  the  Tabula  Alimen- 
taria  of  Trajan,  containing  directions  for  the  maintenance  of  poor  children; 
bronze  tablet  with  the  Lex  Rubria  de  Gallia  Cisalpina,  and  other  inscrip- 
tions on  bronze,  obtained  in  the  excavations  at  Velleia;  to  the  left,  line 
portrait  of  a  girl  in  bronze;    to  the  right,    head  in  gilded  bronze  (resein- 


368   Route  51 »  PARMA.  Picture  Gallery . 

bling  Hadrian).  —  III.  Room.  Architectural  fragments  and  fragments  of 
mosaics  from  the  Roman  theatre  of  Parma.  —  We  pass  through  an  ante- 
room into  the  IV.  Room,  with  Greek  and  Etruscan  vases,  and,  on  Ihe 
right,  the  V.  Room,  containing  Etruscan  tomhs  and  objects  discovered  in 
tombs.  —  We  return  to  the  ante-room  and  enter  the  VI.  Room  (on  the 
right).  Marble  statues  and  fragments  from  Parma,  Velleia,  and  elsewhere; 
on  the  left  wall  a  colossal  head  of  Zeus;  to  the  left  of  the  entrance,  basalt 
torso  (resembling  the  torso  of  the  Belvedere  in  attitude);  near  the  window 
on  the  right,  torso  of  Eros.  —  VIII.  Room.  Choir-stalls  by  Bernardino 
Canucio  da  Lendinara  (1494);  cabinets  and  'cassoni'  (16 -17th  cent.).  — 
IX.  Room.  Table-ornament  with  many  figures  by  the  Spaniard  Z»am.  Com- 
pe«y(lS04);  tapestries.  —  We  ascend  tlje  steps  to  the  X.  iiooM.  Sculptured 
capitals  from  the  cathedral  pnlpit,  by  Ben.  Antelami;  sculpture  of  the  bar- 
oque period.  —  XI.  Room  (to  the  right).  Punches  and  stamps  from  the 
mint  of  Parma;  mediseval  seals;  furniture  (16-17th  cent.).  —  XII.  Room. 
Panelling  and  furniture  from  the  bedroom  of  the  Abbess  Giovanna  da 
Piacenza  (p.  369).  —  XIII.  Room.  Chandelier,  glass,  and  furniture  of  the 
17th  century.  — XIV.  Room.  Majolica  pavement  from  the  church  of  San  Paolo. 

A  staircase  descends  from  the  first  room  to  the  rooms  on  the  ground- 
floor.  —  Room  I.  Roman  inscriptions  and  tombstones.  —  Room  II.  Valu- 
able collection  of  pre-Roman  antiquities  found  in  the  province  of  Parma; 
weapons,  implements  of  Hint,  hone,  bronze,  iron,  and  clay.  —  Room  III. 
Similar  antiquities  from  the  'Terramare'  (lake-dwellings)  of  Castione.  — 
Room  IV-VIl.  Ethnographical  collections.  —  Room  VIII.  Porcelain  and 
majolicas.  —  KooM  IX.  Stoves  of  the  baroque  period. 

The  extensive  *Pictubb  Galleet,  on  the  first  floor,  is  open  at 
same  hours  and  on  same  terms  as  the  Museo  di  Antichita  (illustrated 
catalogue  4  fr.,  abridgment  25  c). 

I.  Room:  nothing  worthy  of  note.  —  II.  Room.  On  the  left,  "371. 
Giulio  Romano  (after  a  sketch  by  Raphael  in  the  Louvre),  Christ  in  glory, 
with  the  Madonna,  the  Baptist,  and  SS.  Paul  and  Catharine.  On  the 
opposite  wall :  364.  In  the  Style  of  Murillo.  Job;  116.  Ribera,  The  Apostles. 
—  111.  Room  or  Rotunda.  Two  colossal  statues  of  Hercules  and  Bacchus 
with  Ampelus,  in  basalt,  found  on  the  Palatine  at  Rome  in  1726.  To  the 
right:  216.  O.  B.  Tiepolo,  St.  Fidelis  of  Sigmaringen  and  St.  Lawrence  of 
Brindisi  overcoming  Heresy ;  231.  Jac.  Tintoretto,  Descent  from  the  Cross ; 
Cima  da  Conegliano,  370.  Midas  deciding  between  Apollo  and  Pan,  373. 
Endymion,  "3B1,  '360.  Madonnas  with  saints. 

IV-VI.  Large  Saloon.  On  the  entrance-wall,  Copies  of  Correggio's 
Coronation  of  Mary  (in  S.  Giovanni,  p.  367),  by  Annibale  and  Agostino  Car- 
racci.  To  the  right:  Dosso  iJossi,  391.  Adoration  of  the  Magi,  398.  Holy 
Family;  369.  Oarofalo ,  Madonna  in  clouds;  Franc.  Francia,  123.  Pieta, 
130.  Madonna  in  glory,  with  SS.  Benedict,  Placidus,  Scholastica,  and 
Justina  (1515),  359.  Holy  Family;  50.  Crist.  Cafelli,  Madonna  and  angels, 
with  St.  Hilary  and  the  Baptist  (1499);  45.  Al.  Araldi,  Annunciation;  122. 
Lodomco  da  Parma,  Annunciation,  with  SS.  Sebastian  and  Catharine.  — 
141.  Oirol.  Mazzola,  Immaculate  Conception.  —  In  the  middle  of  the  room  : 
Statue  of  Marie  Louise  in  a  sitting  posture,  in  marble,  by  Canova.  —  The 
door  at  the  end  of  this  room  leads  to  Rooms  VII  and  VIII,  with  the 
modern  pictures. 

Tlie  door  to  the  right  of  the  statue  of  Marie  Louise  leads  to  Rooms  IX- 
XIII,  which  contain  the  collection  of  portraits.  In  RR.  IX  and  X  are  portraits 
of  the  Farnese  (X.  300.  Alex.  Farnese,  by  Sir  A.  More)-.,  XI,  Bourbons; 
XII,  Portraits  of  the  16-17th  cent,  (over  the  entrance -door,  302.  Seb.  del 
Piombo ,  Pope  Clement  VII.  and  a  chamberlain,  unfinished,  about  1532; 
opposite,  *355.  Holbein  the  Younger,  Erasmus,  painted  about  1530);  XIII, 
Portraits  of  the  17-18th  centuries.  —  Adjoining  is  Room  XIV,  which  con- 
tains mediocre  engravings  by  Toschi  (d.  1854),  after  Correggio,  etc.  —  We 
now  return  to  P.oom  lU  and  pass  to  the  right  into  the  — 

XV.  Room.  Water-colour  copies  of  Correggio's  works,  by  Toschi  and 
his  pupils.  —  XVI.  Room.  Drawings  and  paintings  by  Parmigianino :  in 
the  entry,  313.  Portrait  of  himself ;  to  the  left,  192.  Betrothal  of  St.  Catharine. 


Picture  Gallery.  PARMA.  51.  Route.    369 

Rooms  XVII-XXI  are  devoted  to  Correggio  and  form  the  chief  part  of 
the  gallery.  —  XVII.  Room.  **!  (350),  Repose  during  the  flight  to  Egypt 
('Madonna  della  Scodella'),  painted  abnut  1528  fur  the  church  of  S.  Sepolcro 
(in  the  original  fr.Tme).  "The  picture  breathes  a  spirit  of  cheerful  and  calm 
emotion  and  is  suffused  in  a  soft  and  sunny  glow.  The  figures,  marked 
by  the  most  delicate  gradations  of  light  and  fhadow,  stand  out  clearly 
against  the  darker  wooded  background,  the  tone  of  which  is  of  a  juicy 
greenish-brown*  (J/eyer,  Correggio).  —  XVIII.  Room:  2  (758).  Annunciation, 
fresco  from  the  church  of  Santissima  Annunziata,  Parma.  —  XIX.  Room  : 
*3  (31).  Madonna  della  Scala,  a  celebrated  fresco  (much  injured);  ''*4  (351). 
Madonna  di  San  Girolamo,  also  known  as  'II  Giorno'  (1527;  the  figure  of 
the  Magdalen  is  especially  admired).  —  XX.  Room.  Photographs  of  works 
by  Corregy,io.  —  XXI.  Room:  '6  (353).  Martyrdom  of  SS.  Placidus,  Flavia, 
Eutychi\i8,  and  Victorinua  (painted  about  1525).  'The  artist's  principal 
aim  is  to  produce  a  pleasing  picture.  The  tragic  scene  is  transacted  in  a 
rich  and  charming  landscape.  The  wonderfully  picturesque  execution  and 
the  harmony  of  the  lively  and  yet  subdued  tints  are  most  attractive. 
Even  the  shadows  produce  an  effect  of  light,  and  define  the  form  clearly 
and  decidedly.  The  figures  as  it  were  float,  breathe  and  move  in  an  atmos- 
phere of  brilliant  light'  (Meyer).  —  -5  (352).  Descent  from  the  Cross  (ca.  1525). 

XXU.  Room.  Florentine,  Sienese,  and  Modenese  paintings  of  the 
14-15th  centuries.  —  XXIQ.  Room.  Architectural  paintings  by  Bern.  Belotto 
and  others.  —  XXIV.  Koom.  Landscapes  by  Italian  masters.  —  XXV. 
Room.  Landscapes  by  foreign  masters.  —  XXVI.  Room.  Views  of  build- 
ings in  Parma. 

The  door  opposite  the  picture-gallery  in  the  same  story  leads  to 
the  Library  {Bihlioteca  Palatina;  open  daily,  except  Sun.  and 
holidays,  9-6  in  wintei  and  9-4  in  summer). 

The  library  contains  more  than  200,(X)0  vols,  and  4500  MSS. ;  several 
of  the  latter  are  of  Oriental  origin,  amongst  them  the  Koran  which  the 
Emp.  Leopold  I.  found  in  1683  in  the  tent  of  the  grand-vizier  Cara  Mnstapha 
after  the  raising  of  the  siege  of  Vienna;  the  'livre  d'heures'  (prayer-book) 
of  Henry  II.;  two  l-ith  cent.  MSS.  of  Dante's  'Divine  Comedy';  a  MS.  of 
the  De  Prospectiva  Pingendi  by  Petrus  Pictor  Burgensis  (Piero  della 
Francesca);  a  letter  of  Luther;  Byzantine  and  Jewish  miniatures;  the 
original  'Fresco  of  Correggio^ $  Coronation  of  Mary  from  S.  Giovanni  (p.  367); 
bust  of  Duchess  Marie  Louise  by  Canova.  —  The  (formerly)  ducal  Tipo- 
grafia,  founded  in  1766  by  Bodoni.,  is  celebrated  for  its  admirable  printing. 

The  Teatro  Farnese,  also  situated  here  (keys  kept  by  the  custodian 
of  the  Antiqxiarian  Museum,  fee  30  c),  was  erected  in  1618-28  by  O.  B. 
Alleotti,  a  pupil  of  Palladio. 

The  custodians  of  the  picture-gallery  keep  the  keys  (fee  60  c.) 
of  the  — 

Convento  di  San  Paolo  (PI.  D,  E,  2,  3),  formerly  a  Benedictine 
nunnery,  now  a  school,  containing  admirahly  preserved  *Frescoes 
by  Correggioin  a  room  thus  decorated  by  order  of  the  abbess  Giovanna 
daPiacenzain  1518-19:  over  the  chimney-piece  Diana,  on  the  ceiling 
Cupids  and  emblems  of  the  chase  (the  celebrated  'Putti  del  Cor- 
reggio'), on  the  frieze  the  Graces,  Fortuna,  Adonis,  etc.  The  most 
favourable  light  is  in  sunny  weather,  10-4. 

'This,  his  first  work  of  a  monumental  character,  shows  the  painter 
as  already  possessed  of  his  full  powers.  The  execution  is  in  the  highest 
degree  painstaking  and  minute,  his  handling  even  in  fresco  is  delicate 
and  at  the  same  time  broad,  soft,  and  warm.  As  in  the  later  paintings 
in  the  domes  of  the  Cathedral  and  S.  Giovanni  Evangelista,  the  decorative 
arrangement  seems  to  transcend  the  limits  of  the  building,  and  force  its 
way  through  the  ceiling,  forming  an  arbour  through  wliicb  the  light  of 
heaven  appears  to  find  free  ingress'.  —  Meyer^i  Correggio. 

Baedkkkk.    Italy  I.   13th  Edit.  24 


370   Roalebl.  PARMA. 

The  adjacent  room  is  adorned  with  exquisite,  slightly -figured 
arabesques  on  a  dark  blue  ground  by  Al.  Araldi.  —  The  monastery 
church  (^San  Lodovico  ;  PL  D,  E,  31  contains  the  monument  of  Field 
Marshal  Count  Neipperg  (d.  1829),  the  morganatic  husband  of  the 
Empress  Marie  Louise  after  the  death  of  Napoleon,  by /.or.  Bartolini. 

To  the  S.W.ofthe  Piazza  Garibaldi  vises  the  University  (PI.  D,  4), 
erected  by  Gaiea2J0iliessi(?),  in  the  time  ofOttavioFarnese  (16th  cent.), 
as  a  Jesuit  college.  It  contains  various  natural  history  collections. 
The  palaeontological  department  (Director,  Prof.  P.  Strobel),  and  the 
Muaeo  Zoologico  Eritreo  Bottego,  a  collection  illustrating  the  fauna 
of  the  Italian  colonies  in  Africa  (entrance  Strada  dell'  Dniversita, 
No.  7),  are  especially  worthy  of  inspection. 

Quitting  the  museum  and  crossing  the  small  river  Parma  by  the 
Ponte  Verde  (PL  C,  3),  we  reach  the  Giardino  Pubblico  (PL  B,  C,  2,  3 ; 
closed  at  7  p.m.),  formerly  the  Ducal  Garden,  at  the  N.  end  of  which 
is  the  Palazzo  del  Giardino  (PL  B,  C,  2),  erected  in  1564  by  Odoardo 
Farnese,  and  adorned  with  numerous  frescoes.  One  of  the  apartments 
contains  the  Rape  of  Europa,  the  Triumph  of  Venus,  the  Marriage 
of  Peleus  and  Thetis,  etc.,  by  Agostino  Carracci.  The  palace  is  now 
a  military  school  and  not  always  accessible. 

The  garden  adjoins  the  Rampari,  a  promenade  encircling  the 
town,  and  laid  out  on  the  site  of  the  former  fortifications.  —  To  the 
S.E.,  between  the  Orto  Botanico  and  the  castle  (Cittadella),  lies  the 
iStradone  or  Passeggio  Puhblico  (PL  E,  F,  5,  6),  another  public  walk. 

SiEAM  Tramways  from  Parma.  To  the  N.W.  to  (121/2  M.)  Fovtanellato, 
with  the  Villa  Sanvitale,  containing  good  fre.scoes  by  Parmiirianino,  and 
thence  via  (171/2  M.)  Soragna  (p.  361)  to  (23V2  M.)  Bnsseio,  a  little  town 
with  nOOinhab.,  the  chief  church  of  which,  Chiesa  dei  Winori  Osservanti, 
contains  a  Pieta,  an  admirable  early  work  (ca.  1475)  by  Guido  Mazzoni 
(p.  372).  Verdi  (p.  155)  was  born  at  the  neighboTJring  village  of  Roncole. 
—  To  the  S.  to  (15  M.)  Langhirano,  in  the  upper  valley  of  the  Parma,  via 
(12  M.)  Torrechiara,  with  a  loftily-situated  castle  of  the  Sforza  Cesarini, 
built  in  1448-CO.  The  Camera  d'Oro  in  the  latter  has  painted  wall-tiles 
and  frescoes  by  Ben.  Bembo.  —  To  the  S.E.  via  (51/2  M.)  Pilastrello  to  (11  M.) 
Montecchio  on  the  one  hand  and  on  the  other  to  (13  M.)  Traversetolo,  whence 
we  may  reach  Canossa  (p.  363)  in  2i/2-3  hrs.  via  San  Polo  (CEnza. 

52.   From  Parma  (Milan)  to  Sarzana  (Spezia^  Pisa). 

72  M.  Railway  in  23/4-43/4  hrs.  (lares  13  fr.  50,  9  fr.  46,  6  fr.  10  c).  The 
fastest  train  is  the  so-called  'lightning  express'  from  Milan  to  Rome  via  Pisa 
(fares  14  fr.  85,  10  fr.  40  c).  —  For  Sarzana  passengers  by  the  ordinary 
trains  change  carriages  at  Santo  Stefano  di  Magra ;  no  connection  to  Spezia 
{lV/2  M.)  by  the  lightning  express. 

From  Milan  to  Parma,  78  M.,  see  R.  50.  The  line  traverses  the 
plain  to  the  S.W.  of  Parma  to  (71/2  M.)  CoUecchio,  and  at  (12  M.) 
Ozz  no  Taro  enters  the  boulder-strewn  valley  of  the  Taro,  a  tribu- 
tary of  the  Po,  which  it  ascends  to  Borgotaro,  passing  through  several 
tunnels.  —  Near  (I41/2  M.)  Fornovo  di  Taro  (575  ft.)  Charles  VIII. 
of  France,  retiring  over  the  Cisa  (p.  371)  in  1495 ,  repulsed  an 
attack  of  the  Milanese  and  Venetians,   who  sought  to  embarass  his 


AULLA.  52.  liouif.   371 

inarch  through  N.  Italy.  —  21 '/2  ^'-  Leskjnano  di  I'ulmia;  20  M. 
Valmozzola.  —  281/2  ^f-  Bercelo. 

Berceto  is  the  station  for  the  village  oi Berceto  (2590  ft.;  Alb.  Agnelli), 
11  M.  above  the  railway,  the  Romanesque  church  of  which  displays  primitive 
sculptures  ;  and  for  the  highroad  to  Pontremoli.  About  1/3  31.  above  Berceto, 
near  the  prettily  situated  hamlet  ol  Poggio  di  Bercelo  (2 1  CO  ft. ;  Alb.  alia  Post  a, 
rustic),  this  road  unites  with  one  from  Fornovo  (see  above),  before  as- 
cending to  the  S.W.,  with  continuous  line  views  (in  clear  weather  the  Alps 
are  visible  to  the  X.),  to  the  pass  of  La  Cisa  (3415  ft.;  view  limited  to  the 
S.),  beyond  which  it  descends  via  the  little  summer- resort  of  Monielungo 
(2705  ft. ;  Hot.  Apt>nnino,  R.  from  2,  board  5  fr.)  to  Pontremoli  (see  below), 
in  the  valley  of  the  Magra. 

38  M.  Borgotaro.  The  little  town  (1350  ft. ;  Alb.  Dati),  with  a 
well-preserved  town-wali,  lies  in  a  small  brown-coal  basin,  1/2  M. 
beyond  the  Taro,  on  the  highroad  to  Sestri  Lovante  (p.  114). 

The  line  pierces  the  main  chain  of  thu  Apennines  by  tlie  Boryallo 
Tunnel,  which  is  nearly  5  M.  in  length  (transit  in  9  min.).  At  the 
end  of  the  tnunel,  in  the  valley  of  the  Torrente  Verde,  lies  (43*/2  ^^0 
Grondola-Ouinadi.  —  Passing  through  several  tunnels,  the  train 
desiends  the  valley  of  the  Magra  to  — 

49  M.  Pontremoli  (770  ft. ;  Alb.  Flora,  very  fair;  Alb.  Valiarhi), 
a  little  town  with  4100  inhab.,  beautifully  situated  amid  fine  moun- 
tain scenery.  It  is  the  seat  of  a  bishop  and  possesses  a  cathedral 
and  a  high-lying  castle,  and  is  the  starting-point  for  the  ascent  of 
the  Monte  Gottero  (5375  ft.  ;  about  6  hrs. ;  fine  views)  and  of  the 
Monte  Ormro  (6000  ft. ;  4-5  hrs.).  —  Thence  the  railway  descends 
the  broad  valley  of  the  Magra,  through  the  fertile  Imniyiana  (comp. 
p.  1 14).  —  5(3  .AI.  Villaj'ranca-Bagnone.  Villafranca  is  tlie  ancestral 
seat  of  the  ancient  line  of  the  Malaspina.  —  We  cross  the  Taverove. 

62  M.  Anlla  (210  ft.;  Alb.  Italia),  a  beautifully  situated  little 
place,  at  the  confluence  of  the  Aulella  with  the  Magra,  dominated 
by  the  fortress  of  BruneUa  (1543). 

Fkom  Aulla  to  Castklndovo  di  Garfagnana,  41  M.,  highroad  (carr. 
40  fr.).  The  road  leads  via  (IO1/2  M.)  Fivizzano  (p.  861),  whence  a  route  to 
Reggio  diverges  on  the  left,  (15  M.)  Terenzano,  and  (20'/2  M.)  Montefiore  to 
the  (24  M.J  Foce  di  CarpinMi  (2755  ft.),  the  pass  between  the  Alpi  Apuane 
(p.  123)  and  the  Apennines.  Thence  it  descends  through  wood  into  the 
Garfagnana,  the  upper  valley  of  the  Serchio,  to  (31  M.)  Piazza  ol  Serchio 
(1645  ft.)  and  finally  passes  through  an  imposing  gorge  via  (34  31.)  Cam- 
porgiano  (1560  ft. ;  inn  ;  p.  123)  to  (il  M.)  Castelnuovo  di  Garfagnana  (910  ft. ; 
Alb.  il  Globo ;  Alb.  Genovesi),  the  former  capital  of  the  Garfagnana.  It 
is  aituatcd  at  the  confluence  of  the  Turrite  and  the  Serchio,  on  the  high- 
road (p.  376)  between  (Modena)  Sassnolo  and  the  Bagni  di  Lucca.  The 
castle  (Rocca)  is  now  the  sotto- prefettura;  i'/z  31.  to  the  W.  lies  the 
frontier-fortress  of  ilontalfonso  (1185  ft.;  now  a  prison),  erected  in  1579  by 
-Mfonso  II.,  Dnke  of  Ferrara. 

We  cross  the  Aulella.  —  67  M.  Santo  Stefano  di  Magra.  with 
an  old  town- wall. 

Fbom  Santo  Stefano  to  Spezia,  71/2  M. ,  railway  in  20  min.  (fares 
1  fr.  40,  1  fr..  65  c.).  —  The  line  diverges  to  the  S.  from  the  main  line, 
crosses  the  Ma;;ra,  and  at  (21/2  M.)  Vezzano  Ligure  joins  the  Genoa -Pisa 
railway  (R.  20).     Hence  to  (71/2  M.)  Spezia.  pee  p.  119. 

The  main  line  follows  the  left  bank  of  the  Magra.  —  72  M. 
Sarzana,  a  station  on  the  Genoa-Pisa  line  (see  p.  119). 

24* 


372 


53.  Modena. 


Railway  Stationa.  1.  Central  Station  (PI.  D,  1),  for  the  Milan-Bo- 
logna line  (R.  50)  and  the  Verona-Mantua-Modena-Bologna  line  (R.  42),  at 
the  N.E.  end  of  the  town,  3/4-I  M.  from  the  hotels.  —  2.  Stazioiie  Ferrovie 
Economiche  (PI.  D,  5),  for  the  branch-railways  mentioned  at  p.  376. 

Hotels.  *Albergo  Reale  (PI.  a;  C,  5),  Via  Emilia,  R.  2V2-4  fr.,  omn. 
80  c.;  Italia  (PI.  b;  C,  3),  Via  Fonte  d'Abisso  3,  near  the  Piazza  Reale, 
with  trattoria,  R.  2-2V2  fr-,  omn.  60  c..  plain;  San  Marco  (PI.  c;  B,  4), 
Strada  Posta  Vecchia,  commercial,  R.  ^'/z,  omn.  V2  fr.,  well  spoken  of; 
Ai/BEiiGo  E  RiSTORANTE  Centkalb  (PI.  d;  C,  4),  Same  street;  Scudo  di 
Fran  CIA  (PI.  e  ;  B,  4),  Contrada  dei  Bagni,  with  trattoria,  quite  unpretending. 

Restaurant.  Fratelli  Molinari,  Strada  San  Carlo,  cor.  of  the  Via  Emilia 
(PI.  C,  4),  very  fair.  —  Beer.  Birreria  Ifazionale,  Via  Emilia,  near  the  Alb. 
Reale.  —  Cafe.    Caffe  jVazionale,  Via  Emilia,  near  the  Alb.  Reale. 

Cab,  per  drive  80  c.,  at  night  1  fr.  30  c.;  per  hour  1  fr.  60  c.,  each 
additional  half-hour  50  c. ;  each  trunk  20  c. 

Tramways  (10  c).  From  the  Barriera  Garibaldi  (PI.  D ,  5)  by  the  Via 
Emilia  to  the  Porta  SanC  Agostino  (PI.  A,  3) ;  and  by  the  Piazza  Reale 
(PI.  C,  3),  and  the  Cor-so  Vitt.  Emanuele  to  the   Central  Station  (PI.  D,  1). 

Ilfilian  Protettant  Church  in  the  Piazza  Grande. 

Chief  Attractions  ('/z  day) :  Cathedral  (p.  373) ;  San  Giovanni  Battista 
(p.  374);  Picture  Gallery  (p-  374);  San  Francesco  (p.  375). 

Modena  (116  ft.),  a  town  with  26,800  inhab.,  situated  in  a  fertile 
plain  between  the  Secchia  and  the  Panaro,  formerly  the  capital  of 
the  duchy  of  that  name,  and  now  that  of  a  proyince  of  the  Emilia 
and  the  see  of  an  archbishop,  possesses  broad  streets,  spacious  ar- 
cades, a  university,  and  an  academy  of  art. 

Modena,  the  ancient  Mvtina,  in  the  dominions  of  the  Gallic  Boii. 
became  a  Roman  colony  in  B.C.  183,  and  was  a  place  of  some  importance. 
After  the  murder  of  Caesar,  Decimus  Brutus  was  besieged  here  by  Antony 
for  four  months,  Dec.  44  to  April  43  B.C.  (Bellum  Mutinense) ;  but  the  latter 
was  defeated  by  Octavian  with  the  consuls  Pansa  and  Hirtius,  and  forced 
to  raise  the  siege.  —  In  the  middle  ages  Modena  belonged  to  the  estates 
of  the  Countess  Matilda  (p.  363),  but  afterwards  obtained  its  independence 
and  became  the  scene  of  violent  conflicts  between  the  Guelphs  and  Ghibel- 
lines,  until  in  1288  it  eventually  came  into  the  possession  of  Ohizzo  II. 
cfEste  (d.  1293;  see  p.  379).  —  On  the  death  of  Alphonso  II.,  without  issue 
(1597),  the  states  of  Modena  and  Reggio  (but  not  that  of  Ferrara)  fell  to  his 
kinsman  Cesare  d^Este  (1598) ,  husband  of  Virginia  de'  Medici ,  daughter 
of  Grand-duke  Cosimo  I.  of  Florence.  On  the  death  of  Francis  II.  (d.  1694) 
this  collateral  line  became  extinct,  and  the  succession  was  taken  up  by 
Rinaldo  (d.  1737),  younger  son  of  Duke  Francis  I.  Hercules  III.  (d.  1803), 
who  by  the  Peace  of  Luneville  lost  Modena  in  1801 ,  was  the  last  of  the 
family  of  Este.  Through  his  daughter  Beatrice,  who  married  Archduke 
Ferdinand,  the  duchy  came  into  the  possession  of  the  younger  branch  of 
the  House  of  Austria  in  1814.  The  insurrections  of  1821,  1831,  and  1848 
were  quelled  with  cruel  severity.  Francis  V.,  the  last  duke,  quitted  his 
dominions  in  1859  and  went  over  to  the  Austrians.  After  his  death  in 
1875  the  name  of  Este  passed  to  the  Austrian  Archduke  Francis  Ferdinand. 

A  specialty  of  Modena  with  regard  to  art-history  was  the  sculptur- 
ing of  Terracottas  ,  the  aim  of  the  artists  being  to  represent  dramatic 
groups  rather  in  accordance  with  pictorial  than  plastic  principles,  and 
therefore  calculated  only  for  being  exhibited  in  niches.  This  branch  of 
art  was  first  fully  developed  by  the  strongly  realistic  master  Ouido  Maz- 
zoni  (1450-1518),  who  worked  also  in  Naples  and  at  the  court  of  France. 
Some  of  his  works  are  in  the  crypt  of  the  cathedral  (p.  373),  and  in  San 
Giovanni  Battista  (p.  374).  The  art  was  next  practised  in  a  more  refined 
style  by  Antonio  BegarelU  (1498-1565),  who,  imbued  with  the  best  spirit  of 
the  Renaissance,  usually  rejected  the  aid  of  painting,  and  brought  it  to  the 
utmost  perfection  of  which  it  seems  capable. 


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MODENA.  53.  Route.    373 

In  tlie  Piazza  Grande,  in  the  centre  of  the  city,  near  the  Corso 
della  Via  Emilia  (p.  374),  stands  the  — 

*Cathedral  (PI.  B,  4),  begun  in  the  Romanesque  style  in  1099 
by  Lanfranco  and  consecrated  in  1184,  with  a  superstructure  of 
later  date.  The  facade  is  relieved  by  a  large  rose-window  and  a 
simple  colonnade  (groups  of  three  arches  each  enclosed  by  a  larger 
arch),  which  is  continued  round  the  whole  building.  The  portals 
are  adorned  with  the  usual  marble  lions.  The  sculptures  of  the 
facade,  representing  the  Creation  and  the  history  of  the  first  men 
down  to  Noah,  are  by  Nicolaus  and  WiiiyeZmus  (after  1099;  comp. 
p.  374);  on  the  last  S.  portal,  to  the  right  near  the  choir,  is  the 
history  of  St.  Geminianus,  by  Agostino  diDuccio,  of  Florence  (1442). 
The  choir  has  a  tripartite  semicircular  termination. 

The  Intkrioe  has  been  restored  since  1S97.  The  nave  and  aisles  are 
supported  by  alternate  pillars  and  columns,  over  which  runs  a  triforium, 
and  the  vaulting  is  pointed.  By  the  first  column  to  the  right  is  an  old  font, 
made  out  of  a  former  capital.  —  Right  Aisle.  By  the  ist  altar  is  a  fresco 
of  the  Last  Judgment,  by  Crisloforo  da  Lendinara.  In  a  niche  between 
the  3rd  and  4th  altars  is  a  small  terracotta  group  of  the  Nativity,  by 
Ant.  Begarelli.  —  Left  Aisle.  On  the  2nd  altar  are  late-Gothic  terracotta 
reliefs,  probably  by  the  Florentine  Archilect  of  the  Pellegrini  Chapel  (p.  247); 
3rd  altar,  a  Coronation  of  Mary,  with  saints  on  a  gold  ground,  by  Serajino 
de''  Seranni,  one  of  the  oldest  extant  pictures  of  the  school  of  Modena 
(1385) ;  4th  altar,  'Altar-piece,  Madonna  in  clouds,  St.  Jerome,  St.  Sebas- 
tian, and  John  the  Baptist,  by  Dosso  Dossi.  By  the  opposite  pillar  is  the 
Gothic  pulpit  by  Enrico  da  Campione,  1321.  —  lu  the  choir,  to  the  left,  is 
the  tomb  of  Franc.  Molza,  by  Bart.  Spani  of  Reggio  (ISiG).  On  the  right, 
behind  the  right  approach,  sculptures  by  Alberio  and  Anselmo  da  Campione, 
representing  the  Passion  (ca.  1160).  Above  these  are  frescoes  of  St.  Christ- 
opher and  the  Annunciation  (lith  cent.  V).  The  fine  choir-stalls  are  by 
Criiloforo  da  2ienrfinara  ( 1465),  to  whom  is  due  also  the  intarsia-work  in  the 
sacristy.  —  The  lofty  Crypt,  with  lions  and  dwarfs  at  the  entrance,  and 
supported  by  thirty  slender  columns,  most  of  them  with  Romanesque  capi- 
tals, the  fluted  ones  in  front  of  the  high-altar  being  antique,  contains  the 
tomb  of  St.  Geminianus.  The  realistic  'Group  over  the  altar  on  the  right, 
a  Madonna  and  Christ,  with  a  nun,  St.  Joseph,  and  a  most  unattractive 
servant,  is  by  Otudo  Mazzoni  (badly  restored  in  1851). 

The  Archives  of  the  Cathedral  Chapter  House  contain  a  large 
number  of  manuscripts. 

The  *Campaiiile,  or  Torre  Ghirlandina  (PL  8;  B,  4),  erected  in 
1224-1319,  335  ft.  in  height,  is  one  of  the  four  finest  in  N.  Italy.  It 
leans  a  little  towards  the  bacli  of  the  cathedral,  which  is  itself 
slightly  out  of  the  perpendicular.  In  the  interior  is  preserved  an 
old  Secchia,  or  bucket,  which  the  Modenese  captured  from  the 
Bolognese  at  the  battle  of  Rapolino  In  1325.  The  ascent  is  recom- 
mended (easy  stair ;  custodian  50  c).  —  Adjacent,  in  the  small 
Piazza  della  Torre,  is  a  statue  of  the  poet  Alessandro  Tassoni  (1565- 
1635),  who  has  humorously  described  the  above-mentioned  incident 
in  his  celebrated  epic  poem  'La  Secchia  Rapita'  (1616). 

On  the  E.  side  of  the  Piazza  Grande  is  the  old  PalUizo  della 
Rngione  (recently  partly  restored),  now  the  Cassa  di  Risparmio,  or 
Savings  Bank  (PI.  1). 


374    Route  5-3.  MODENA.  Albergo  Arti. 

Ill  the  Couso  DKLT.A  Via  Emilia,  tlie  cliief  street,  stands  the 
church  of  San  Giovanni Battista  or  S.  Giovanni DecoUato  (PI.  B,3,4), 
a  plain  round  structure  containing,  to  the  left  of  the  high-altar,  a 
painted  *Group,  a  Pietl,  hy  Ouido  Mazzoni  (1480 ;  badly  restored  in 
1853).  —  Farther  on,  in  a  small  piazza,  is  a  statue  (PI.  5;  B,  3) 
of  the  learned.' historian  Lodovico  Muratori  (1672-1750). 

At  the  end  of  the  Via  Emilia  is  the  church  of  Sant'  Agostino 
(PI.  A,  3),  a  'Pantheon  Estense',  built  by  Bihbiena,  'one  of  the 
most  fantastic  flat -roofed  creations  of  the  baroque  style'  (Burck- 
hardt).  To  the  right  of  the  entrance  is  a  Pietk,  an  early  work  by 
Begarelli. 

Adjacent  stands  the  Albergo  Arti  (PI.  A,  3),  built  by  Duke 
Francis  III.  in  1767,  now  accommodating  the  municipal  collections. 

The  Court  contains  a  statue  of  Duke  Borso  of  Este  (p.  379),  by  Ferd. 
PeHicia  (1843),  and  the  Museo  Lapidario,  compiising  chiefly  Roman  in- 
scriptions and  sarcophagi;  in  the  passage  to  the  left,  two  mediaeval 
monuments  of  1312  and  1309  and  the  tomb  of  the  jurist  Giov.  Sadoleto, 
by  Crista/.  Sloporone  (1517). 

On  the  first  floor  is  the  Biblioteca  Estense,  with  90,000  vols,  and 
30(X)  MSS.,  transferred  by  Duke  Cesare  d'Este  from  Ferrara  to  Modena  in 
1598,  when  Pope  Clement  VIII.  claimed  the  Duchy  of  Ferrara  as  a  vacant 
fief  (p.  379).  Some  of  the  MSS.  are  very  valuable,  e.  g.  a  collection  of  Pro- 
vencal poems  by  Ferrari  (1254),  Dante  with  miniatures  (the  'Codice 
Estense';  14th  cent.),  prayer-book  of  Elector  Albert  of  Mayence  (d.  1545), 
with  miniatures  by  A.  Olockendon.  The  library  is  open  on  week-days, 
9.30-12  and  1.30-6,  and  i.s  generally  accessible  also  during  the  vacation 
(1st  Aug.  to  1st  Oct.).    No  fees. 

The  second  floor  contains  the  Muoeo  Civico  (adm.  10-3):  plaster  casts; 
Holy  Family,  group  in  terracotta  by  Begarelli;  reminiscences  of  the  re- 
volutions of  1821,  1831,  and  1818:  modern  paintings;  photographs  of  mon- 
uments of  art  in  the  neighbourhood  of  Modena ;  valuable  collection  of 
Arab  tombstones;  costly  textile  fabrics;  ethnographical  collection  of  ob- 
jects from  New  Guinea,  Peru,  and  Africa;  coins  and  medals;  prehistoric, 
Boman,  and  Etruscan  antiquities,  etc. 

The  third  floor  accommodates  the  celebrated  ^Picture  Gallery  (Rente 
Galleria  e  Medagliere  Estense),  presented  to  the  city  by  Francis  V.  in  1869 
and  since  augmented  by  the  collection  of  the  Marchese  Campori  (open  10-4, 
adm.  1  fr.  ;  Sun.  &  holidays,  11-2,  free).    No  catalogue.    Director,  Dr.  Bariola. 

Boom  I  ('Dipinti  e  Bust!  in  marmo').  Lor.  Bei'nini,  Bust  of  Duke 
Francis  I. 

Room  II  (Scuola  Ferrarese).  To  the  left,  50.  Ercolc  de''  Roherti,  Death 
of  Lucretia;  440.  Dosso  Dossi  (Baltista  Dossi?),  Adoration  of  the  Holy  Child; 
450.  Dosso  Dotsi,  Alfonso  1.,  Duke  of  Ferrara  (copy  of  the  lost  portrait  by 
Titian,  painted  in  1533).  —  "437.  Dosso  Dossi ,  Madonna  on  clouds,  with 
SS.  George  and  Michael:  451.  Garofalo,  Madonna  enthroned,  with  saints.  — 
185.   Oaro/olo,  Pieta;  350.  Scarselliiio.  AAoTaiion  of  the  Holy  Child. 

Room  III  (Scuola  Modenese,  Bolognese,  e  Correggio).  To  the  left, 
486.  Barnaha  da  Modena  (14th  cent.),  489.  Tommoso  da  Modena  (14th  cent.). 
Small  altar-pieces;  485.  Crista/,  da  Lendinara.  Madonna  (1482);  4S0.  Bar- 
tolomea  Bonasia,  Pieta  (1485);  476.  Franc.  Bianchi-  Ferrari  (Correggio's 
teacher).  Annunciation  (1510);  483.  Marco  Meloni,  Madonna  enthroned,  with 
saints  (1504).  —  Correggio,  "17.  Madonna,  51.  Rape  of  Ganymede,  in  fresco 
(school-piece).  —  No  number,  Niccolb  delV  Ahbate,  Series  of  frescoes  from 
the  chateau  of  Scandiano  (p.  364),  comprising  nine  scenes  from  the  .^neid 
(transferred  to  canvas).  —  On  an  easel:  Niccolb  delV  Ablate,  Octagonal 
painting  with  angelic  musicians. 

Room  IV  (Scuola  Veneta,  Lombarda,  Toscana).  To  the  left,  293.  Cijna 
da    Conegliano,    Christ    in   the    attitude   of  blessing;   468.    Verai^ese    Schaol 


San  Pieiro.  MODENA.  53.  Route.    375 

(15th  cent.):  Lid  of  a  chest  with  representation  of  a  baptism;  *470.  Cima 
da  Conegliano ,  Pieta;  464.  Vine.  Catena,  Madouna,  with  saints  and  donors; 
467.  Boni/azio,  Adoration  of  the  Magi;  57.  Titian,  Poi trail  (copy).  —  5.  Bart. 
Montayn/i,  Madonna.  —  449.  Verrocchio,  Adoration  of  the  Holy  Child  (studio- 
piece)  ;  136.  Floi'entine  School  (15tli  cent.) ,  Lid  of  a  chest.  —  456.  Andrea 
del  Stirtv,  Holy  Family  (copyV);  7.  Andrea  Solar io  ,  Bearing  of  the  Cross; 
228.  Marco  <VO(j(jiono  i^f).  Madonna.  —  On  the  upper  part  of  the  walls: 
Jac.  Tintoretto,  Ceiling-paintings  from  Ovid's  Metamorphoses.  —  To  the 
right  is  — 

RooBi  V  (Scuole  Diverse).  To  the  left,  407.  Lod.  CarracH,  Assump- 
tion. —  Outdo  Reni,  44S.  St.  Rochus  in  prison,  "414.  CrociBxion;  Ouercino, 
466.  Crucifixion  of  St.  Peter,  255.  Portrait.  —  438.  Guercino,  Betrothal  of 
St.  Catharine. 

Room  VI  (Scuola  Spasnuola.  Francese,  Tedesca,  Fiamminga).  To  the 
right,  163.  MaHer  of  the  Death  of  the  Virgin,  St.  Anna  with  the  Virgin  and 
the  Child  Jesus  (injured);  162.  f>l'jle  of  MemVing,  Madonna,  with  angelic 
musicians.  —  '472.    Velazquez,   Duke  Francis  I.  of  Este  (1637;  unfinished). 

Room  Vlt  (Scuola  Fiamminga,  Francese,  Tedesca).  Pictures  of  the 
l7-lSth  centuries.  —  Room  VIII  (l^assaggio).     Drawings. 

Room  IX  (Scuole  Antiche  e  Moderne).  Italians  of  the  17-19th  centuries. 
Left  wall:  34S.  fi.  Rosa,  Landscape;  33.  C.  Cignani,  Portrait.  —  Right  wall: 
'J43.  Lion.  Spadn.  Gipsy. 

Room  X  (Sculpture  and  i^rlicles  of  Vertu).  By  the  walls :  Sculptures 
by  BegarelU,  including  a  tine  coloured  Madonna;  coins  of  Italian  cities; 
plaquettes  and  medals  of  the  Renaissance;  larger  bronzes,  including  an 
ink.stand  by  Garadosso.  —  In  the  middle:  Harp,  with  miniatures  by  a 
Ferrarese  master  of  tlie  IGth  cent.;  violin  and  violoncello,  made  for  Duke 
Francis  II.  by  Dom.  Galli  in  1687  and  1691,  with  exquisite  wood-carving; 
ivory  saddle  (loth  cent.)  and  other  carvings;  bronze  vase  by  Riccio.  — 
Iq  the  Anteroom  are  antique  vasts,  fine  majolica  (16th  cent.),  etc. 

San  Francesco  (PI.  A,  5),  a  GotMc  cliurch  of  the  14tli  cent., 
in  tliC  S.  part  of  the  town,  contains  a  *Descent  from  the  Cross  (in 
the  chapel  to  the  left  of  the  choir)  by  BegarelU,  an  imposing  com- 
position in  terracotta,  with  13  lifesize  figures,  among  which  the 
group  of  the  women  is  specially  pleasing. 

At  the  S.  end  of  the  town  rises  San  Pietro  {PI.  C,  6),  'with  an 
admirable  brick  facade  of  the  early  Renaissance. 

iNTKRioK.  Ist  Altar  on  the  right,  Pieta,  after  the  engraving  by  Marc- 
antonio,  by  Ortolano  (?),  with  a  beautiful  predella  (Martyrdom  of  St.  Se- 
bastian); 4tu  altar  on  the  right,  Dosso  Dossi,  Madonna  (school -piece). 
In  the  chapel  to  the  right  of  the  choir,  Piela,  in  terracotta,  one  of  Antonio 
Begarelli't  chief  works.  In  front  of  it,  to  the  right,  in  the  transept: 
Madonna  and  Child  in  clouds,  with  four  saints  below,  begun  by  BegarelU 
(whose  remains  were  interred  here  in  1875)  and  completed  by  his  nephew 
Lodovico.  Six  statues  in  the  nave  by  the  same  master.  2nd  Altar  in  the 
left  aisle.  Franc.  BianchiFerrari,  Madonna  with  S8.  Jerome  and  Sebastian. 

The  church  of  San  Yincenzo  (PI.  C,  4;  open  till  9  a.m.),  a 
little  to  the  N.  of  the  Via  Emilia,  begun  in  1617,  was  not  finished 
until  1761  (by  Nice.  Oasp.  Paolelt'i).  The  intiTior,  distinguished 
for  its  rich  stucco  decorations,  contains  the  tomb  of  the  last  duke, 
Hercules  III.  Rinaldo  of  Este  (d.  18031,  and  an  altar-piece  by 
Guercino  (Madonna  with  SS.  John  and  Gregory). 

Between  the  spacious  Piazza  Reale  (PI.  C,  3)  and  the  Corso 
Vitt.  Emanuele  is  the  Palazzo  Ducale ,  now  the  Palazzo  Reale 
(PI.  C,  3;  military  school),  begun  under  Francis  I.  in  1634,  with 
an  imposing  court  ailded  by  the  Roman  Bartolomeo  Avanzini. 


376   Route  53.  MODENA. 

From  the  Coiso  Cavour  we  enter  the  beautiful  Oiardino  Pubblico 
(PL  D,  2,  3;  closed  in  rainy  weather).  —  The  former  Bamparls  of 
the  town  also  afford  pleasant  walks. 

Fkom  Modena  to  Mirandola,  191/2  M.,  railway  in  li/s  tr.  (fares  2  fr.  30, 
1  fr.  55  c.)-  —  From  (15 '/a  M.)  Caoezzo-Villafranca  a  branch  diverges  to 
Finale  Emilia  {il^l-i  M.),  via  San  Felice  sul  Panaro  (p.  387).  —  19V2  M.  Miran- 
dola, on  the  old  road  from  Verona  to  Bologna,  a  town  with  3200  inhab. 
and  many  picturesque,  antiquated  buildings,  after  many  vicissitudes  came 
into  the  possession  of  the  Fico  family.  Count  Giovanni  Pico  (1463-94)  was 
remarkable  for  his  ability  and  learning.  Alexander  I.  (1619)  was  the  first 
of  the  family  who  bore  the  title  of  Duke  of  Mirandbla  and  Concordia. 
Francesco  Maria,  the  last  duke,  sold  his  dominions  to  Modena  in  1710. 
The  old  Palace  of  the  dukes,  the  Cathedral,  and  the  church  of  Gesu  should 
be  visited. 

Another  Railway  unites  Modena  with  (lO'/a  M.,  in  */«  hr. ;  fares  1  fr.  30, 
86  c.)  Sassuolo,  a  small  town  with  .5600  inhab.,  on  the  Secchia,  with  a  former 
ducal  villa  and  park.  Monte  Gibbio,  a  neighbouring  volcanic  mountain, 
has  been  known  since  very  early  times  for  its  naphtha  springs  and  mud- 
fountains,  the  last  considerable  outbursts  of  which  took  place  in  1771 
and  1835.  —  From  Sassuolo  a  beautiful  Highkoad  ascends  the  valley  of  the 
Secchia  to  Castellarano  (w^ith  an  old  castle)  and  Roteglia.  It  then  traverses 
the  valleys  of  ih.^  Dolo  si.'aA  Dragone  to  Vitriola  (with  a  chalybeate  spring), 
below  the  little  town  oi  Montefiorino  (2615  ft.;  with  a  decayed  chateau  of 
the  Montecuculi).  Thence  a  side-route  leads  to  Frassinoro  (with  the  ruins 
of  an  ancient  abbey).  The  main  route  next  passes  Calvario,  a  curiously 
shaped  serpentine  crag,  and  a  gaseous  spring.  Farther  on  are  the  villages 
of  Sassatella  and  Piandelagotti  (2495  ft.;  Alb.  deW  Appennino;  Locanda 
Facchini),  the  last  frequented  as  a  summer-resort.  Hence  we  may  proceed 
either  via  the  Face  delle  Radici  (5013  ft.)  and  Castelnuovo  di  Oarfagnana 
(p.  371)  to  the  Bagni  di  Lucca  (p.  443)  or  via  SanV  Anna  and  Fiumalbo  (see 
below)  to  the  Abetone  Pass  (p.  408).  —  From  Sassuolo  to  Reggio,  see  p.  364. 

A  Narkow  Gauge  RAiLWAy  runs  from  Modena  to  the  S.  to  (IOV2  M., 
in  1  hr.)  Maranello  (575  ft.),  situated  on  the  road  from  Modena  to  Pistoia, 
a  distance  of  91  M.  The  road,  constructed  about  1770  by  Duke  Francis  III. 
of  Modena,  leads  by  Formigine,  Monfestino  (2295  ft.),  Pavtillo  (2235  ft.),  Pieve- 
pelago  (2500  ft.),  and  Fiumalbo  (3095  ft.),  at  the  base  of  the  lofty  Monte 
Cimone  (p.  408),  where  charming  views  of  the  Apennines  are  obtained.  A 
diligence  runs  once  daily  in  summer  from  Maranello  to  Pievepelago.  Con- 
tinuation of  the  road  (to  the  Abetone  Pass,  San  MarceUo,  etc.),  see  p.  408. 

From  Modena  to  Vignola,  16  JI.,  railway  in  li/i-lVzhr-  (fares  1  fr.  95, 
1  fr.  30  c.).  Vignola  (410  ft.),  prettily  situated  on  the  lanaro,  with  a  castle, 
s  the  birthplace  of  the  famous  architect  Oiac.  Barozzi,  surnamed  Vignola 
(1507-73).     Thence  to  Bologna,  see  p.  387. 

54.  From  Venice  to  Bologna  via  Padua  and  Ferrara. 

991/2  M.  Railway  in  31/4-61/4  brs.  (fares  18  fr.  60,  13  fr.,  8  fr.  40c.,  express 
2U  fr.  45,  14  fr.  30c.);  to  (70  M.)  Ferrara  in  2-43/4  hrs.  (lares  13  fr.  15, 
9  fr.  20,  5  fr.  90c.,  express  14  fr.  45,  10  fr.  10,  13  fr.  15c.).  'Lightning 
Express'  from  Venice  to  Bologna  in  ca.  3  hrs. 

From  Venice  to  (23  M.)  Padua,  see  p.  269.  The  line  skirts 
the  navigable  Canale  di  Battaglia.  —  29  M.  Abano  Bagni  (Alb. 
Orologio;  Alb.  Todeschini),  the  Aquae  Patavinae,  ov  Fons  Aponi,  of 
the  Romans,  has  hot  springs  and  mud-baths.  The  village  of  Abano, 
said  to  be  the  birthplace  of  the  historian  Livy,  lies  at  some  distance 
to  the  right  of  the  line,  on  the  E.  slope  of  the  Colli  Euganei,  an 
isolated  volcanic  chain  of  hills,  with  extensive  quarries  of  trachyte. 
The  culminating  point  of  the  range  is  the  Monte  7enda  (1890  ft.), 


ROVIGO.  5i   Route.   377 

with  a  ruined  monastery.  —  .'Jl  M.  Montegrotto  also  has  baths  (Sta- 
bilimeiito  Mingoni-Selmi).  —  The  train  threads  a  long  tnnnel. 

34  M.  Battaglia  (36  ft.;  Hot.  delle  Terme;  Alb.  al  Monte;  Alb. 
Italia,  with  a  clean  trattoria),  is  noted  for  its  warm  saline  springs 
(season,  March  15th  to  Nov.  30th).  The  baths  and  lodging-houses 
(R.  "2-5,  D.  41/2  fr.)  lie  in  a  park  at  the  foot  of  the  hill  of  Sant' 
Elena,  which  is  crowned  by  a  chatean.  In  this  hill  is  a  natural 
Vapour  Orotto,  in  which  the  temperature  is  100-116°  Fahr.  The 
baths  are  found  efficacious  in  cases  of  gout,  chronic  rheumatism,  etc. 

A  little  to  the  N.  of  Battaglia  is  the  ch.iteau  of  Cattaio,  erected  by 
the  Venetian  family  of  the  Obizzi,  and  now  the  property  of  the  Archduke 
Francis  Ferdinand  of  Este  (p.  372),  who  transferred  the  collection  of  anti- 
quities to  Vienna  in  1895.  The  frescoes  by  Zelotti  are  worth  seeing.  — 
The  Oratm-io  San  Mic/iele,  or  Chapel  of  the  chateau,  contains  good  early 
Italian  pictures.  —  Fine  park. 

About  5  51.  to  the  S.W.  of  Battaglia,  31/2  M.  to  the  N.W.  of  Monselice, 
and  5'/2  M.  to  the  N.E.  of  Este,  on  a  picturesque  slope  on  the  S.E.  verge 
of  the  Monti  Euganei,  is  situated  Arqua  Petrarca  (modest  trattoria),  a 
village  noted  for  its  wine,  where  Petrarch  lived  and  died  (1304-74).  His 
monument  in  front  of  the  church  consists  of  a  sarcophagus  of  red  marble, 
bearing  the  inscription : 

Frigida  Francisci  lapis  hie  tegit  ossa  Petrarce, 
Suscipe,  virgo  parens,  animam !  Sate  virgine,  parce ! 
Fessaque  nam  terris  cell  requiescat  in  arce. 
MCCCLXXIIIl.     XVmi.  Julii. 
On  the   top   is  a  bust   of  Petrarch ,  dating  from  1547.     His  house,  charm- 
ingly situated  in  the  upper  part  of  the  village,  with  painted  wooden  ceilings 
and  faded  frescoes  of  scenes  from  his  poems,  was  purchased  by  the  town 
of  Padua  in  1875.    It  contains  a  few  reminiscences  of  the  poet  (adm.  '/j  fr.). 

37'/2  M-  MonsiCice  (Scudo  d'ltalia,  plain ;  one-horse  carr.  to 
Battaglia  via  Arqu^  Petrarca,  about  4  fr.),  a  town  of  3600  inhab., 
picturesquely  situated  at  the  S.E.  base  of  the  Monti  Euganei,  is 
partly  surrounded  by  old  walls  and  possesses  trachyte  quarries  and 
a  ruined  castle  (the  Rocca;  500  ft.). 

At  Caoddn^  13/4  M.  to  the  S.  of  Monselice,  is  Count  E.  Arrigoni  degli 
Oddi's  extensive  ornithological  collection,  to  which  visitors  are  court- 
eously admitted  on  application. 

From  Monselice  to  Mantua,  see  p.  263. 

We  cross  the  Battaglia  Canal.  41  M.  SanV  Elena.  Near  (46  M.) 
Stanghella  the  line  crosses  the  Oorzone  Canal.  The  country  is  fer- 
tile, but  flat  and  marshy.     Near  Boara  the  Adige  is  crossed. 

50 V2  M.  Bovigo  {^Buffet;  Corona  Ferrea,  with  trattoria,  R.  2, 
omn.  V2  f^^M  clean;  Caffe  Vittorio  Emanuele;  omnibus  from  the 
station  to  the  Piazza  Vitt.  Emanuele),  on  the  Naviglio  Adigetto, 
the  capital  of  a  province,  with  6000  inhab.,  belonged  to  Vettice 
from  1484  downwards.  —  An  avenue  of  plane-trees,  continued  by 
the  Via  Porta  Adige  and  the  Via  Angeli,  leads  from  the  station  to 
the  Piazza  Vittorio  Emanuele,  passing  (on  the  left)  the  Palazzo 
Roncali,  a  Renaissance  building  by  Sanniicheli  (1555).  In  the  piazza 
stand  a  Venetian  column  and  a  ma.T\)le  Statue  of  Victor  Emmanuel  J  J. 
Adjoining  the  Caf^  Vittorio  Emanuele  is  the  entrance  (marked 
'Accademia  dei  Concordi')  to  the  — 


37(S    Route  54.  ROVIGO. 

Palazzo  Oomunale,   whicli  contains  the  municipal  collections. 

Staiboase  :  line  tapestry  and  a  bust  of  J.  Miani  (d.  1872),  the  African 
traveller,  who  was  born  at  Bovigo. 

The  First  Floor  contains  the  Library  (ca.  80,000  vols.)  and  a  Picture 
Gallery.  Among  the  best  works  in  the  latter  are  the  following:  2.  Copy 
of  Titian,  Madonna  (original  in  the  ilof-Museum  at  Vienna);  3.  Copy  of 
Oent.  Bellini,  Madonna;  11.  Style  of  Giorgione,  I'ortrait;  6iorgione('t),  22. 
Scourging  of  Christ,  2,5.  Bearing  of  the  Cross;  37.  Angelica  Kauffmann, 
Innocence;  '39.  Palma  Vecc/iio,  Madonna,  with  SS.  Helena  and  Jerome 
(retouched);  42.  Perugino  (ace.  to  Mr.  Crowe  by  i/o  Spagna),  Madonna;  103. 
Mabuse,  Venus;  109.  Giov.  Belliiii,  Madonna;  above,  Dosso  Dossi,  102.  SS. 
Benedict  and  Bartholomew,  110.  SS.  Lucia  and  Agnes  ;  118.  And}-ea  Schiavone, 
Apollo  and  Daphne,  after  Giorgione  (p.  340);  119.  North  German  Master  (not 
Holbein),  Portrait  of  Ferdinand  I.  (1525);  134.  Antonio  Badile,  The  Magi;  135. 
B:'lt.  Dossi,  Madonna  and  saints;  148.  Palma  Vecchio  (copy),  Adam  and  Eve. 

Second  Flook.  A  number  of  pictures,  including  a  portrait  of  Biela, 
the  astronomer,  by  K.  Rahl  (1836),  and  a  small  collection  of  antiquities. 

A  mediaeval  Gate-Tower  lias  been  preserved  near  the  Piazza  Vitt. 
Emanuele.  To  the  W.  of  the  Adigetto,  in  the  small  Piazza  Castello, 
are  two  surviving  towers  of  an  oid  castle. 

From  Rovigo  to   Verojia,  see  p.  267. 

From  Uovigo  to  Cuioggia,  35'/2  M.,  railway  in  2'/4-2V2  brs.  (fares 
3  fr.  45,  1  fr.  75  c).  The  chief  intermediate  station  is  (IS'/a  M.)  Adria  (Stella 
d^Iialia,  very  fair),  a  town  with  11,300  inhab.,  situated  on  the  Canal  Bianco, 
on  the  site  of  the  very  ancient  Etruscan  town  of  the  same  name,  whence 
tlie  Adriatic  derives  its  appellation.  The  sea  has  gradually  receded  from 
it,  and  is  now  over  I2V2  M.  distant  (comp.  p.  242),  leaving  remains  of  the 
old  sandhills.  In  the  Mxtseo  Civico  and  in  Siynor  Bocchi's  collection  are 
numerous  antiquities  (chielly  fragments  of  vases).  —  35V2  M.  Chioggia,  see 
p.  345. 

55^2  M-  Arquh  Polesine.  The  line  crosses  the  Canal  Bianco, 
and  near  (59  M.)  Polesella  reaches  the  Po,  here  the  boundary 
between  Venetia  and  the  Emilia.  The  river  is  crossed,  and  the 
train  reaches  (OTi/a  M-)  Pontelagoscuro,  witli  sugar-refineries  and  a 
chemical  factory. 

70  M.  Ferrara,  see  p.  379. 

Immediately  to  the  S.  of  Ferrara  the  train  crosses  the  Cavo  Tas- 
sone  Canal,  which  communicates  with  the  Po  di  Primaro,  and  tra- 
verses flat,  well-cultivated  land  (rice-flelds).  Stations;  Poggio  Re- 
natlco,  Oalliera,  San  Pietro  in  Casale. 

From  S.  Pietro  in  Casale  a  diligence  plies  thrice  a  day  in  I1/4  hr.  to  — 

Cento,  a  small  town  (4300  inhab.)  on  the  Re7io,  the  birthplace  of  the 
painter  Giovanni  Francesco  Barbieri,  surnamed  Guercino  or  'the  squinting' 
(b.  1591;  d.  at  Bologna  1666).  The  Pinacoteca  Comunale  and  several  of 
the  churches,  particularly  that  of  the  Madonna  del  Rosario,  contain  works 
by  him,  but  his  chief  works  are  at  Some,  Genoa,  and  Turin.  His  house 
is  still  shown.  In  the  centre  of  the  town  is  his  statue  by  Galletti  (1862).  — 
Near  Cento  is  situated  Pieve  di  Cento  (steam-tramway  from  Bologna,  see 
p.  387),  a  small  town  with  the  pilgrimage-church  of  Santa  Maria  Assunta ; 
the  high-altar-piece  is  a  fine  Assumption  by  Guido  Reni. 

88  M.  San  Giorgio  di  Piano;  93  M.  Castelmaggiore.  The  fertility 
of  the  soil  increases  as  Bologna  is  approached. 
9972  M.  Bologna,  seep.  886. 


lrt»offr'^Tl3  Anstnlt 


H79 


55.   Ferrara. 


Railway  Station  (PI.  A,  2,  S;  unpretending  restaurant),  outside  the 
Porta  Po,  at  the  N.W.  end  of  the  town,  3/4-I  BI.  from  the  hotels. 

Hotels  (bai-iiain  desirable,  comp.  p.  xx).  Albergo  Eukopa  (PI.  b;  E,'4), 
Corso  della  Giovecca,  opposite  the  post-ol'fice;  Stelt.a  d'Oro  (PI.  a;  D,  4), 
opposite  the  castle,  H.  2-3,  omn.  •/<  fr->  trattoria  at  both;  Alb.-Ristok. 
IT.\LIA,  new;  Pellegrimo  e  G-aiana  (PI.  c;  D,  4),  Piazza  Torquato  Tasso, 
with  frequented  trattoria,  R.  i'/>tT.,  plain  but  good.  Mosquitoes  trouble- 
some in  summer. 

Cafes.  Villani,  Piazza  del  Commercio;  Folchini,  Corso  della  Giovecca, 
opiio^ite  the  post  office.  —  Restaurant.  ^Vaffi-Eisior.  Eden,  Largo  Castello, 
on  the  E.  side  of  the  castle  (concerts  in  the  evening). 

Post  &  Telegraph  Office  (PI.  K,  4),  Corso  della  Giovecca. 

Cab,  per  drive  '/z  fr.,  at  night  1  fr.,  with  two  horses  1  fr.  and  1  fr.  30  c. ; 
from  the  station  to  the  town  1  fr.,  with  two  horses  l'/2  fr.  (at  night  2  fr.); 
per  hour  I'/zfr.,  with  two  horses  2  fr.,  each  additional  '/z  hr.  50  or  80  c. ; 
trunk  over  55  lbs.  25  c. 

Tramway  (15  c.)  from  the  station  to  the  cathedral;  from  the  cathedral 
to  the  Porta  Eomana  (PI.  P,  8). 

Principal  Attractions  (V2I  day):  Castello;  Cathedral;  Museo  Schifa- 
noia;  Palazzo  de'  Diamaoti. 

Ferrara  (30  ft.),  situated  3  M.  to  the  S.  of  the  Po,  in  a  fertile 
hut  monotonous  plain,  is  the  capital  of  a  province,  with  32,400  in- 
hab.  and  some  industries  (sugar-iefineriej,  etc.),  and  the  seat  of  an 
archbishop  and  of  a  university.  It  possesses  broad  streets,  numerous 
palaces,  and  other  reminiscences  of  its  golden  period,  when  it  was  a 
prosperous  commercial  place,  numbering  100,000  inhab.,  and  the 
seat  of  the  celebrated  court  of  the  House  of  Este. 

The  family  of  E.ste  was  probably  descended  from  the  Carlovingian 
governors  of  Teutonic  origin,  and  derived  its  feudal  name  from  the  castle 
mentioned  at  p.  263.  Azzo  II.  (d.  1097)  became  Count  or  Margrave  of 
Este  under  Emp.  Henry  IV.  His  son  TTe?/ (founder  of  the  younger  branch 
of  the  Guelvhs)  was  invested  with  the  Duchy  of  Bavaria,  and  his  son 
Jlenry  the  Proud  became  the  founder  of  the  families  of  Brunswick  and 
Hanover.  Folco  (ca.  1097-1135),  the  eldest  son  of  Azzo,  wiis  the  ancestor 
of  the  Italian  bouse  of  Este.  Obizzo  II.  (d.  1293),  who  established  a 
permanent  dominion  over  Modena  in  1288  and  Reggio  in  1289,  considerably 
extended  the  power  of  his  house.  Niccolo  III.  (d.  1141)  summoned  to  his 
court  in  1424  the  erudite  Ouarino  (1370-1460),  who  here  laid  the  founda- 
tion of  a  prosperous  school  of  liberal  learning.  In  1452  jSMccuIo's  son 
liorso  received  the  title  of  Duke  of  Modena  ani>  Reggio  from  Emp. 
Frederick  HI.,  and  in  1470  that  of  Duke  of  Ferrara  from  Pope  Paul  II. 
He  died  in  1471.  His  brother  Hercnles  I.  (1471-1505),  and  the  son  of  the 
latter,  Alphonso  I.  (1505-34),  whose  second  wife  was  the  infamous  Lucrezia 
iJorgia,  were  powerful  and  iufhicntial  priucc.=  .  Lodovico  Ano-fio  (1474-1533; 
p.  368),  the  greatest  Italian  poet  of  the  16th  cent.,  was  in  the  service  of 
Alphonso  from  1518.  Though  bloody  feuds  distracted  the  ruling  family, 
the  city  steadily  grew  in  prosperity.  Hercules  II.  (1534-58),  son  of  Alphonso, 
was  the  husband  of  Renata,  daughter  of  Louis  XII.  of  France,  patroness 
of  the  Reformers  Calvin  and  Marot,  to  whom  she  accorded  an  asylum. 
Having  declared  herself  in  favour  of  the  reformed  doctrines,  she  was 
separated  from  her  husband  and  children.  Her  son  Alphonso  II.  (1558-97) 
raised  the  glory  of  Ferrara  to  its  culminating  point,  but  with  him  the 
family  became  extinct,  his  three  marriages  being  childless.  He  was  the 
patron  of  the  poets  Tasso  (1514-95)  and  Uuarini  (author  of  the  'Pastor  Fido'; 
born  at  Ferrara  in  1537,  died  at  Venice  in  1612).  Goethe  in  his  'Torquato 
Tasso'  has  drawn  a  faithful  picture  of  the  court  of  Ferrara  about  the  year 
1575,  although  a  somewhat  ideal  colouring  is  given  to  some  of  the  characters. 
His   description    of   the    attachment    of   Tasso    to    Eleonora   (1537-81),    the 


380   Route  55.  FERRARA.  Castello. 

youngest  unmarried  sister  of  the  duke,  seems  to  liave  a  poetical  founda- 
tion only.  Anna  (1531-1607),  one  of  tlie  sisters,  was  married  to  the  Due 
de  Guise,  and  afterwards  to  the  Due  de  Nemours;  Lucrezia  (1534-98),  the 
other  sister,  was  the  wife  of  the  Duke  of  Urbino.  Alphonso  II.  was  suc- 
ceeded by  Cesare  d^Este,  descendant  of  a  natural  son  of  Alphonso  I.,  but 
only  as  Duke  of  Modena  and  Reggio,  Ferrara  and  Comacchio  having  been 
claimed  by  Pope  Clement  VIII.  in  1597  as  vacant  fiefs.  In  the  history  of 
art  and  science  the  renown  of  the  House  of  Este  is  immortal. 
'Whoe'er  in  Italy  is  known  to  fame 
This  lordly  House  as  frequent  guest  can  claim.' 
The  art  of  Fainting  was  liberally  patronised  at  Ferrara,  as  at  all  the 
other  Italian  courts,  but  the  Ferrarese  painters  did  not  succeed  in  main- 
taining full  independence.  In  the  15th  century  they  were  chiefly  influ- 
enced by  the  Paduan  school  and  by  Piero  della  Francesca  of  Umbria. 
This  double  influence  is  shown  in  the  case  of  Cosinio  Tura  (1432-1495), 
of  Francesco  Cossa  (d.  at  Bologna  in  1477),  whose  easel-paintings  are  fre- 
quently crude  and  angular,  and  of  Ercole  de'  Roherii  (d.  1496),  the  most 
eminent  of  the  early-Renaissance  painters  of  Ferrara  next  to  Tnra.  The 
chief  works  of  this  period  are  the  frescoes  in  the  Palazzo  Schifanoia 
(p.  383).  —  Lorenzo  Costa  (1460-1535;  comp.  p.  258),  another  Ferrarese 
master,  left  his  home  in  his  yonth  and  came  into  intimate  relations  of 
action  and  reaction  with  Francesco  Francia,  the  chief  master  of  the  Bolog- 
nese  school  (comp.  p.  389).  The  other  great  masters  of  the  16th  cent,  also 
owed  much  to  external  sources.  At  their  head  stands  Dosso  Dofsi  (ca.  1479- 
1542),  who  shows  the  influence  of  Ariosto  in  his  poetically  conceived  genre 
works  and  of  Giorgione  in  his  landscapes.  —  lienvenuto  Tisi  (1481-1559), 
usually  known  as  Oardfalo  from  his  birthplace,  long  associated  with 
Dossi,  is  best  represented  in  the  galleries  of  Rome.  The  attempts  of  this 
somewhat  prosaic  master  to  rival  the  idealistic  conceptions  of  Raphael 
resulted  disastrously.  The  productions  of  his  later  period,  such  as  those 
in  the  Pal.  de'  Diamanti  (p.  384),  though  of  great  technical  perfection, 
liecome  tedious  through  the  insipid  sweetness  and  empty  conventionality 
of  the  heads.  —  Lodovico  Mazzoli/io  (1481-1530)  is  known  for  his  fiery  red 
colouring,  but  sinks  into  insignificance  when  compared  with  his  great 
contemporaries.  —  Correggio  (p.  365)  received  his  iirst  artistic  training  in 
the  school  of  Ferrara.  —  The  Princes  of  Este,  especially  Isabella  d'Este 
who  married  a  Duke  of  JIantua  (p.  258),  were  eager  collectors  of  the  works 
of  Raphael  and  Leonardo  da  Vinci.  Titian  also  occasionally  resided  at 
Ferrara,  where  he  painted  three  Bacchanalian  scenes  (now  in  London  and 
Madrid)  for  Alphonso  I. 

Comp.  'The  Story  of  Ferrara',  by  Miss  E.  Nmjes  (1904;  Mediseval  Towns 
series),  and  'Dukes  and  Poets  in  Ferrara'  hy  E.   G.  Gardner  (1E04). 

We  approach  the  town  from  the  station  by  the  former  Porta  Po 
(PI.  B,  2),  the  N.W.  gate  of  the  town-'wall  (once  5V2  M.  In  circuit), 
and  the  hroad  Viale  Cavour  (PI.  B,  C,  D,  2-4).  —  At  the  end  of 
this  street,  heyond  the  little  Public  Park,  rises  the  — 

*Castello  (PI.  D,  4),  an  ancient  and  picturesque  edifice  with 
four  towers,  surrounded  hy  a  moat.  It  was  built  after  1385  hy  Bar- 
tolino  da  Novara  for  Niccolo  II.,  and  partly  restored  after  a  fire  in 
1554  and  after  the  earthquake  of  1670,  and  is  now  occupied  by  the 
prefect  and  other  local  authorities.  The  custodian  is  to  he  found  at 
the  S.W.  entrance  (adm.  daily,  Sun.  till  noon  only,  ring  at  the  iron 
gate  to  the  right;  fee  1/2"!  f'^O-  ^^^  "^^^^  <^^^  Consiglio  Provinciale 
and  the  adjacent  Sala  di  Napoli,  in  the  apartments  of  the  prefecture, 
contain  frescoes  of  the  school  of  Dosso  Dossi ,  representing  athletic 
exercises  of  the  ancient  palaestra.  The  frescoes  in  the  next  room, 
the  Sala  delV  Aurora  (said  to  he  Eleonora's  room),  representing  the 


Cathedral.  FERRARA.  55.  Route.    381 

four  stages  of  the  day  (aurora,  meriggio,  vespero,  notte)  with  a 
beautiful  frieze  with  children  ('putti'),  are  finer.  Adjacent  is  a 
cabinet  with  three  Bacchanalia  by  followers  of  Gardfalo. 

The  cuatodian  shows  also  a  dungeon  at  the  base  of  the  'lion  tower', 
where  the  Margrave  Nicholai  III.  confined  his  faithless  wile  Pariiina 
Malatesla  and  bis  natural  son  Hugo,  her  paramour,  before  beheading  them 
(May  21st,  1425).  Lord  Byron  in  his  poem  of  'Parisina''  substitutes  the 
name  of  Azo  for  Nicholas  as  being  more  metrical.  Visitors  also  see  the 
prison  in  which  Alphonso  I.  confined  for  life  his  brother  Julius  and  the 
Prince  Ferrante  d'Este  after  their  conspiracy  in  1506. 

In  the  small  Piazza  Torquato  Tasso,  to  the  W.  of  the  castle, 
is  the  elegant  Gothic  church  oi  San  Giutiano  (PI.  2;  D,  4),  dating 
from  1406.  —  In  the  Piazza  Savonarola  (PI.  3),  on  the  S.  of  the 
castle,  rises  a  monument  to  Oirolamo  Savonarola,  who  was  born  at 
Ferrara  on  21st  Sept.,  1452  ('in  tempi  corrotti  e  servili  dei  vizi  e 
del  tiranni  flagellatore' ;  p.  468). 

The  large  group  of  buildings  extending  from  the  Piazza  Savo- 
narola to  the  Piazza  della  CATTKDR.^XB  (PI.  D,  5)  is  the  Palazzo 
del  Municipio  (PI.  D,  4,  5),  the  oldest  residence  of  the  Este  family, 
modernized  in  1739.  The  entrance  is  in  the  Piazza  della  Catte- 
drale,  under  the  columns  of  the  so-called  Volta  del  Cavallo,  which 
is  all  that  remains  of  the  loggia  erected  by  Hercules  I.  in  150B  and 
adorned  with  a  statue  of  Nicholas  III.  until  1796.  In  the  court  is 
a  fine  staircase  of  the  same  period  ;  in  the  interior  is  a  room  said  to 
have  been  decorated  by  Dosso  Dossi. 

The  "'"Cathedral  (San  Giorgio;  PI.  D,  5)  has  an  imposing  facade 
with  three  series  of  round  arches ,  one  above  the  other ,  an  ad- 
mirable example  of  the  Lombard  style.  The  lower  part  of  the 
front  and  the  lateral  fa^^ades  date  from  1135;  the  upper  part  is  of 
the  13th  cent.,  the  sculptures  mainly  of  the  13th  and  14th.  The 
projecting  portal,  embellished  with  two  lions,  was  added  at  a  later 
period;  the  reliefs  are  of  an  earlier  date,  some  of  them  being  by 
Nicolaus  and  Wiliyelmus  (p.  248). 

The  tine  Istekior,  with  its  aisles  and  double  transept,  does  not  corre- 
spond with  the  facade,  as  it  was  modernized  in  the  baroque  style  by 
Mazzarelli  in  1712.  In  the  '2nd  Transept  on  the  right:  Martyrdom  of  St. 
Lawrence  by  G ii ercino  {rmned);  on  the  altar  at  the  back,  Crucifixion  with 
the  Virgin,  St.  John,  St.  6eorj;e,  and  St.  Maurelius,  five  figures  in  bronze,  by 
Niccolb  Baroncelli  and  Dom.  di  Paris  (1453-68);  terracotta  figures  of  Christ 
and  the  Apostles  in  both  transepts  by  Alfonso  Lombardi  (15'24;  repainted). 
—  In  the  Choir,  to  the  right,  Annunciation,  to  the  left,  St.  George,  by 
Cotimo  Turn.  —  6th  altar  to  the  left.  Coronation  of  the  Virgin,  saints  below, 
by  Fr.  Francia  (late  work).  —  3rd  altar  on  the  left.  Madonna  enthroned 
with  saints,  by  Oarofalo  (1524).  On  the  right  and  left  of  the  principal 
door,  SS.  Peter  and  Paul,  in  fresco,  by  the  same  master  (retouched).  — 
In  the  rooms  adjoining  the  sacristy,  Oarofalo,  Annunciation;  Dom.  Paiieiti, 
Madonna,  with  two  donors;  Qiacomo  da  Siena,  Statue  of  the  Madonna  (1408). 

At  the  S.  corner  of  the  cathedral  rises  a  handsome  but  unfinished 
Campanile  in  four  massive  stories,  erected  in  the  Renaissance  style 
in  1451-93  (top  story  at  the  end  of  the  16th  cent.).  —  Opposite 
to  it  is  the  Pal.  della  Ragione,  a  Gothic  brick  building,  erected  in 
1321-26,  restored  in   1833-41,    and  still  containing  the  courts  of 


382    Route  65.  FERRARA.  UnioersUy. 

justice.  —  Beyond  it,  at  the  corner  of  the  Via  Romano,  is  the  for- 
mer church  of  San  Romano,  an  elegant  brick  building  now  used 
as  a  storehouse;  on  the  W.  side  are  the  remains  of  ancient  cloisters. 

The  Seminario  Arcivescovile  (PI.  1 ;  D,  4j,  formerly  the  Palazzo 
Trotti-Estense,  Via  Cairoli  32,  contains  frescoes  by  Qarofalo  in  two 
rooms  on  the  groundfloor  (best  light  about  midday ;  fee  1/2  f^.;  closed 
on  Sun.). 

The  paintings  (1520)  in  the  1st  Koom  (vestibule)  are  much  injured. 
Those  in  the  2nd  Room  (1519),  though  too  sombre  for  ceiling-paintinga, 
are  artistically  of  great  beauty  and  well-preserved.  Tasteful  oi-nament- 
ation.  David  and  Goliath,  the  Judgment  of  Solomon,  Prometheus,  etc., 
are  represented.  In  the  centre  is  an  illusive  painting  of  persons  looking 
down  over  a  parapet,  among  them  a  portrait  of  the  artist. 

San  Paolo  (PI.  D,  5),  built  in  the  late-Renaissance  style  about 
1573  by  Alberto  Schiatti,  contains  pictures  by  Carlo  Bonone  and 
ScarselUno,  and  on  the  pillar  to  the  right,  a  bust  by  Aless.  Vittoria 
of  Ant.  Montecatino,  the  friend  and  minister  of  Alphonso  II. 

The  University  (P1.D,E,5,6),  now  attended  by  about  250  stud- 
ents, occupies  a  building  erected  by  6.  B.  Aleotti  in  in  16S7.  In 
the  court  are  Latin  inscriptions,  Roman  and  early-Christian  sarco- 
phagi, and  a  few  Romanesque  sculptures. 

The  Universitt  Library  (adm.  on  weekdays  10-4;  librarian:  Prof. 
(Hus.  Agnelli),  founded  in  1746,  possesses  about  100,000  vols,  and  2000  3ISS. 
Among  the  latter  are  several  cantos  of  the  'Orlando  Furioso'  in  Arioslo^s 
handwriting,  and  a  transcript  of  Tasso''s  'Gernsalemme  Liberata',  both  with 
numerous  corrections;  letters  and  poems  written  by  Tasso  in  prison;  and 
Ouarinfs  MS.  of  the  'Pastor  Fido'.  Among  the  printed  books  are  fifty-two 
old  editions  of  Ariosto.  His  monument,  erected  by  G.  B.  Aleotti  in  1610-12, 
was  brought  hither  from  San  Benedetto  (p.  3S5)  in  1801.  Autographs  of 
the  Este  family,  the  poets  Alfleri  and  Carducci,  etc.,  are  also  shown. 

The  Caaa  degli  Ariosti  (^Pl.  D,  E,  G),  in  the  adjacent  Via  Giuoco 
del  Pallone  (No.  29),  belonged  to  the  parents  of  the  poet. 

San  Francesco  (PI.  E,  5),  a  brick  church  in  the  early-Renais- 
sance style,  erected  after  1494  by  Biagio  Rossetti,  is  entirely  covered 
with  domes,  and  each  aisle  is  flanlced  with  chapels  and  elabor- 
ately painted.  The  frieze  of  'putti'  and  foliage  is  by  Girolamo  da 
Carpi  (ca.  1550).  In  the  1st  Chapel  on  the  left  are  frescoes  by 
Oarofalo,  the  Kiss  of  Judas,  with  the  donors.  A  famous  echo  here 
(under  the  second  dome  in  the  nave)  answers  sixteen  times  if 
awakened  with  due  energy.  —  A  simple  slab  outside,  to  the  right 
of  the  entrance,  commemorates  OiambaWsia  Pigna,  the  secretary 
of  Alphonso  II.  and  alleged  rival  of  Tasso. 

The  dilapidated  Casa  Romei  (PL  E,  5),  Via  Savonarola  28,  de- 
corated in  the  interior  with  frescoes  and  graceful  grotesques  of  the 
school  of  Dosso  Dossi,  affords  a  good  idea  of  an  aristocratic  resi- 
dence of  the  Renaissance  period. 

In  the  choir  of  the  church  of  Corpus  Domini  (PI.  E,  6 ;  adm.  by 
special  permission  only)  are  the  tombs  of  Alphonso  1.  and  Lncrezia 
Borgia,  Isabella  d'Este  (p.  258),  Duke  Hercules  11.,  and  his  daugh- 
ters Lucrezia  and  Eleonora. 


Pal.  Scmdiuna.  b'ERKARA.  55.  Haute.   3&3 

iSantaMakia  in  Vado  (pi.  F,  6),  one  of  the  oUlest  churches  at 
Ferrara,  but  altcreil  in  the  early-Renaissance  style  after  1495  hy 
Biagio  Rosaetti  and  Bartolomeo  Tristani  according  to  plans  by  Er- 
coleOrandi,  consists  of  a  nave  and  aisles,  with  a  flat  ceiling  resting 
on  ten  columns,  and  surmounted  by  a  dome.  It  contains  fine  fres- 
coes by  Carlo  Bonone. 

At  No.  23,  Via  Scandiana,  is  the  Palazzo  Scandiaua,  usually 
called  the  Fal.  Schifanoia  (PI.  F,  6;  'Sanssouci'),  once  a  chateau 
of  the  Este  family,  and  now  the  property  of  the  town.  It  was  begun 
by  Alberto  d'Este  in  1391,  and  completed  under  Borso  by  Pietro 
BenveniUi  in  14G6-69.  Over  the  haTidsome  portal  is  the  unicorn 
from  Borso's  armorial  bearings.  In  1898  the  palazzo  was  fitted  up 
as  the  MusEO  Civico  Scuifanoia,  for  the  municipal  collection  of 
antiquities.    Adm.  10-4  (Oct. -March  11-3),  50  c. 

The  Pkincipai,  Saloon  (1st  floor)  contains  some  celebrated  *Fre8coes, 
completed  aboct  1470.  Only  seven  of  the  original  twelve  scenes  are 
preserved  and  these  are  much  damaged.  The  finest  are  on  the  E.  wall, 
opposite  the  entrance.  In  the  upper  row  are  the  gods  of  the  months  in 
triumphal  chariots  and  allegorical  representations  of  the  months.  These 
and  the  signs  of  the  zodiac  (in  the  middle)  are  by  pupils  of  Cosimo  Tura. 
In  the  lower  row  are  scenes  from  the  life  of  Borso  and  employments  of 
men  iu  the  various  months,  by  Franc.  Cossa.  —  The  show-cases  contain 
31  'Choir  Books  from  the  University  Library,  13  dating  from  1449,  with 
miniatures  by  Quiniforte  Vimmercoio  of  Milan,  the  remainder  from  1468; 
also  a  MS.  Bible  written  by  Matleo  d' Alesmndria  (1469  "? 6);  and  an  early 
Paduan  printed  copy  (1473)  of  the  Decretum  Gratiani ,  with  exquisite 
miniatures. 

The  Sala  degli  Stucchi  (the  former  vestibule),  richly  decorated  with 
fine  mouldings  (frieze  and  ceiling)  by  Dom.  di  Paris  of  Padua  (1467),  and 
an  adjoining  room  contain  Egyptian,  Greek,  Roman,  and  Christian  an- 
tiquities, and  also  a  valuable  collection  of  coins.  The  latter  includes 
400  Ferraresc  coins  besides  Renaissance  medals  and  plaquettcs  by  Pisa- 
7iello,  Matieo  de'  Fasti,  Marescotti.,  Sperandio,  etc.  The  Venetian  rosiri,  or 
ships'  prows,  are  trophies  from  the  naval  battle  on  the  Po  in  1509,  in 
which  Ariosto,  then  in  the  service  of  Cardinal  Ippolito  d'Este,  probably 
took  part. 

To  the  S.  of  Santa  Maria  in  Vado,  in  the  Via  Porta  d'Amore,  is 
the  Palazzo  Costabili  or  Palazzo  Scrofa-  Calcagnini  (PI.  F,  7), 
erected  for  Lcdovico  il  Moro  (p.  132),  but  left  uncompleted.  Hand- 
some court.  On  the  groundfloor  to  the  left  are  two  rooms  with  ex- 
cellent ceiling-frescoes  'by  Ercole  Grandi  {c3..  1610):  in  the  first, 
prophets  and  sibyls;  in  the  second,  scenes  from  the  Old  Testament 
in  grisaille. 

In  the  neighbouring  Via  Formignana,  on  the  S.E.  verge  of  the 
town,  is  the  elegant  little  Renaissance  church  of  La  Madonnina 
(PI.  F,  7),  designed  by  Alb.  Schiatti.  —  Behind  it,  by  a  bastion  of 
the  same  name,  rises  the  Montagnone  (Ji^\.  G,  7),  extolled  by  Tasso, 
and  now  a  reservoir  of  the  waterworks. 

Outside  the  Porta  Romana  (PI.  F,  8 ;  tramway,  see  p.  379),  is  the  church 
of  San  Oiorgio,  where  Pope  Engene  IV.  opened  the  Council  convened  in 
1438  with  a  view  to  eft'ect  a  union  of  the  Greek  and  Roman  churches,  in 
the  presence  of  the  Greek  Emp.  John  PalRologus.  This  locality  being 
considered  nnhcalthy,  the  seat  of  the  (Council  was  transferred  to  Florence 
in  143i).     The   church   (interior   modernized  after  17tiO)  contains  the  tomb 


384    Uoute  .'jo.  FERRARA.  Pal.  de:  Diamnnti. 

of  Bishop  Lor.  Roverella,  by  Ambrogio  da  Milano  (1475),  some  of  the  orna- 
ments executed  in  the  studio  of  Ant.  Rossellino-  The  fine  brick  tower  was 
built  by  Biagio  RossetH  (1485). 


The  N.  QuAKTEB,  or  'Addizione  Erculea',  built  by  Hercules  I. 
ill  1492  et  seq.,  is  traversed  by  two  main  streets,  the  Corso  Vittorio 
Emanuele  and  the  Corso  di  Porta  Po  and  di  Porta  Mare.  At  their 
intersection  (PI.  D,  E,  3)  are  situated  four  handsome  palaces,  the 
finest  of  which  are  the  Renaissance  Palazzo  Prosperi  (formerly 
Sacrati),  built  about  1500,  with  a  fine  portal  (Porta  de'Leoni)  and 
admirable  ornamentation,  and  the  — 

Palazzo  de'  Diamanti,  so  called  from  the  peculiar  facets  of  the 
stones,  a  handsome  early-Renaissance  structure,  erected  for  Sigis- 
mondo  d'Este  by  Biagio  Rossetti  after  1492,  though  not  completed 
until  15G7.  Since  1842  it  has  belonged  to  the  town  and  it  now  con- 
taius  the  Ateneo  Civico  and  the  important  *Civic  Picture  Gallery, 
most  of  the  works  in  which  belong  to  the  School  of  Ferrara.  Adm. 
daily  10-4,  on  Sun.  &  holidays  12-4,  1  fr. ;  entrance  to  the  left  in 
the  court;  good  light  necessary.  Catalogue  (1896)  50 c.  Director: 
Prof.  Aug.  Droghetti. 

I.  Room  (to  the  left).  To  the  right  of  the  entrance,  Rocco  Marconi 
(not  Palma  Veeehio),  The  Tribute  Money  (retouched);  Panetli  (master  of 
Garofalo),  St.  Paul,  a  fresco.  —  II.  Room.  To  the  left,  Panetli,  Annun- 
ciation; Pellegrino  Munari,  Madonna  enthroned,  with  SS.  Geminian  and 
Jerome  (1509).  —  III.  Room  (r.):  opposite  the  window,  Cosimo  Tura,  two 
round  pictures  with  scenes  from  the  life  of  St.  Maurelius ;  also ,  Ercole 
Orandi{'i),  Pieti,  Adoration  of  the  Child;  Tura  (?),  St.  Jerome.  —  We  now 
return  through  the  second  room  to  the  IV.  Room  :  Oarofalo,  The  Old  and 
New  Testament,  an  allegorical  fresco  from  Sant'  Andrea.  —  V.  Room  (fine 
Renaissance  ceiling  in  this  and  the  following  rooms).  Garofalo,  Raising 
of  Lazarus  (1532).  —  VI.  Room.  Dosso  Dossi,  St.  John  the  Evangelist  in 
Patmos;  Oarofalo,  Madonna  del  Pila,stro  and  Adoration  of  the  Magi  (1549) ; 
Ortolano  {!) ,  Adoration  of  the  Child  (1513);  Garofalo,  Adoration  of  the 
Magi,  with  a  carnation  (garofalo)  painted  in  the  foreground  by  way  of 
signature  (1537);  Lod.  Mazzolino,  Adoration  of  the  Child,  with  SS.  Bene- 
dict afld  Albericus  (the  only  picture  by  this  master  with  large  figures)-, 
Oarofalo,  Christ  on  the  Mount  of  Olives.  —  VII.  Room.  Ouercino,  Decap- 
itation of  St.  Maurelius;  Oarofalo,  'Madonna  among  clouds,  with  SS. 
Jerome  and  Francis  of  Assisi  and  donors  below  (1514);  Vitt.  Carpaccio, 
Death  of  Mary  (1508);  Orandi(1),  Martyrdom  of  St.  Sebastian;  Oarofalo, 
Slaughter  of  the  Innocents  (1519),  San  Niccolo  da  Tolentino  celebrating 
mags.  —  VIII.  ^oon.  Dosso  Dcssi,  Annunciation;  Timoieo  Viii  {?),  Assump- 
tion of  St.  Mary  of  Egypt;  Panelti,  St.  Andrew.  —  IX.  Room.  Rear-wall,  Dosso 
Dossi,  'Altar-piece  in  six  parts,  Madonna  enthroned  with  SS.  Augustine 
and  Sebastian  on  the  left,  and  SS.  Ambrose  and  George  on  the  right,  above 
the  Resurrection,  one  of  the  master's  finest  works  (ruined  by  retouching) ; 
Garofalo ,  Miraculous  resuscitation  on  the  finding  of  the  Cross  (1536), 
'Madonna  del  Riposo  (1525). 

Adjoining  Room  IV  is  the  little  3/Mseo  del  Risorgimento.  —  We  retrace 
our  steps  and  straight  opposite  the  entrance  pass  into  X.-XIII.  Rooms 
which  contain  modern  pictures.  —  XIII.  Room.  Drawings  and  engrav- 
ings (incl.  Gael.  Previatl,  The  plague). 

In  the  Corso  di  Porta  Po,  a  little  farther  to  the  W.,  is  the  Re- 
naissance church  of  San  Benedetto  (PL  C,  2,  3),  begun  in  1496 
and  finished  about  1550  by  Oiambattista  and  Alberto  Tristani,  con- 


San  Cmloforo.  FERRARA.  55.  RoiHe.   385 

sistiiig  of  nave  and  aisles  supported  by  pillars,  and  flanked  with 
r.hapels.  The  circular  vaulting  of  the  nave  is  interrupted  by  domes. 
By  the  3rd  altar  on  the  left:  Carlo  Bonone,  Christ  in  glory,  with 
nine  Benedictine  saints.  The  left  transept  contains  some  good 
paintings  by  Scarsellino.  The  old  monastery,  now  a  barrack  (keys 
at  the  Palazzo  Coraunale,  not  always  quickly  obtained),  is  adorned 
with  frescoes  by  Scarsellino  and  Dosso  Dossi  ('?);  that  of  the  ante- 
chamber of  the  refectory  represents  Paradise,  with  saints  and  angels, 
among  whom  Ariosto  caused  himself  to  be  painted. 

The  simple  House  of  Ariosto  (PI.  C,  D,  2),  which  he  erected 
for  himself  after  1526  and  in  which  he  died  in  1533,  Via  dell' 
Ariosto  No.  67  ,  has  been  the  property  of  the  town  since  1811.  It 
bears  the  inscription,  composed  by  the  poet  himself : 

'Parva,  sed  apta  mihi,  sed  nulli  obnoxia,  sed  non 
Sordida,  parta  meo  eed  tamen  aere  domus'. 
A  few  reminiscences  of  Ariosto  are  shown  in  the  interior. 

A  Statue  of  Ariosto  by  Franc.  Vidoni,  on  a  lofty  column  in  the 
Piazza  Ariostea  (PI.  E,  F,  3),  was  placed  there  in  1833.  The  column 
was  originally  intended  for  a  monument  to  Hercules  I.;  till  1796  it 
bore  a  statue  of  Pope  AlexaTider  VII.,  and  in  1810-14  one  of 
Napoleon.  On  the  S.  side  of  the  piazza  is  the  Pal.  Roncagalli- 
Zatti,  and  on  the  W.  side  the  Pal.  Mazzuccht-Bevilacqua,  the  latter 
with  a  fine  colonnaded  court.  —  At  the  corner  of  the  Via  Borso, 
which  leads  to  the  cemetery,  stands  the  Pal.  Massari  (Fl.  E,  3; 
16th  cent  )  with  a  valuable  picture  gallery  and  a  fine  park. 

The  church  of  San  Cristoforo  (PI.  E,  F,  2),  in  the  Campo  Santo, 
formerly  a  Carthusian  monastery,  is  a  handsome  Renaissance  build- 
ing (1498-1553).  The  cemetery  (adm.  Sun.  &  Thurs.  only,  free) 
contains  a  bust  of  the  art  -  historian  Count  Leopoldo  Cicognara 
(1767-1834)  by  Canova,  and  several  tasteful  modern  monuments 
by  Tenerani,  Tadolini,  Bartolini,  and  others. 

The  church  of  Santa  Maria  della  Rosa  (PI.  C,  D,  3;  1624),  in 
the  Via  degli  Arniari,  contains  (1st  chapel  to  the  left)  a  PietSi,  with 
eight  painted  terracotta  figures,  by  Guido  Mazzoni  (p.  372). 

The  Chiesa  del  Gesu  (Pi.  D,  E,  4)  possesses  a  good  painting  by 
Gius.  Maria  Crespi  (2nd  altar  on  the  right),  representing  the  Swoon 
of  St.  Stanislaus.  Beneath  the  choir-gallery  is  the  handsome  tomb 
of  Barbara  d' Austria  (d.  1572),  second  wife  of  Alphonso  II.  —  Close 
by  is  the  Palazzo  Crispi  (PI.  D,  4) ,  a  dignified  late-Rena,issance 
building  by  Girol.  da  Carpi. 

The  HospiTAT,  OF  St.  Anna  (PI.  D,  E,  4),  Corso  Giovecca  No.  41, 
is  interesting  as  the  place  where  Tasso  was  kr  pt  in  confinement 
from  1579  to  1586,  by  order  of  Alphonso  II.,  on  account  of  his 
mental  alienation.  A  cell  is  shown  in  which  he  is  said  to  have 
been  incarcerated,  with  the  names  of  Byron,  Lamartine,  aTid  other 
poets  written  on  the  walls.  —  Adjoining  the  hospital  is  the  former 
Pal.  Roverella,  erected  in  1508,  with  an  early-Renaissance  facade. 

Baedeker.   Italy  I.    13th  Edit.  05 


386   Route  56.  BOLOGNA. 

Near  the  S.E.  end  of  the  Corso  della  Giovecea,  to  the  right 
(No.  174),  stands  the  Palazzina  Estense  (PI.  F,  5;  now  belonging  to 
the  town),  a  garden-pavilion,  retaining  traces  of  decorative  paint- 
ings of  the  school  of  Dosso  Dossi  (1559). 

A  Steam  Tramway  runs  from  Ferrara  to  the  little  town  of  (33  M.) 
Codigoro  (Alb.  d'ltalia;  Leon  d'Oro;  sugar-refineries),  via  (20  M.)  Ostellato 
in  the  delta  of  the  Po,  which  has  recently  been  drained  and  largely  re- 
claimed for  agriculture.  On  the  old  road  from  Eavenna  to  Venice,  IV4  M. 
from  Codigoro,  lies  the  once  famous  °Badia  di  Fomposo  (10th  cent.  ?), 
abandoned  in  the  middle  ages  on  account  of  the  malaria.  The  Foresteria, 
the  refectory,  and  some  others  of  the  conventual  buildings,  with  14th  cent, 
frescoes  by  painters  of  the  school  of  Rimini ,  are  still  standing.  The 
church,  an  edifice  of  1116,  in  the  style  of  the  early-Christian  basilicas, 
has  a  fine  old  mosaic  pavement.  The  campanile  (164  ft.  high)  dates  from 
1063  and  is  still  in  good  preservation. 

From  Ostellato  (see  above)  a  highroad  (diligence  to  Comacchio,  thrice 
daily  in  21/2  hrs.)  runs  to  the  E.  to  Comacchio,  an  old  town  on  the  Lagune 
and  chief  place  in  the  Valli  di  Comacchio,  which  abound  in  eels.  This  region 
is  also  about  to  be  reclaimed.  The  road  goes  on  to  the  seaport  of  Mag- 
navacca. 

Feom  Fekbaha  to  Ravenna,  46  M.,  railway  in  2-21/2  lirs.  (fares 
8  fr.  60,  6  fr.  5,  3  fr.  90  c).  The  district  traversed  is  monotonous, 
with  few  villages  and  barren  fields  alternating  with  marshy  ground. 
101/2  M.  Montesanto ;  15  M.  Portomaggiore,  the  junction  of  a  branch 
via  Budrio  to  (29  M.)  Bologna;  21  M.  Argenta.  The  Reno  (p.  364) 
is  crossed.  26  M.  Lavezzola  (junction  for  Lugo,  p.  409);  35  M. 
Alfonsine.  —  46  M.  Ravenna,  see  p.  409. 
Railway  from  Ferrara  to  Suzzara,  see  p.  264. 


56.    Bologna. 

Main  Railway  Station  (PI.  E,  1 ;  "Rail.  Restaurant,  dej.  or  D.  incl.  wine 
3V2  fr.),  outside  the  Porta  Oalliera,  for  the  lines  Milan -Bologna -Pistoia- 
Florence  (RR.  50,  57),  Modena- Mantua-Verona  (R.  42),  Ferrara -Padua- 
Venice  (RR.  54,  43),  Castel  Bolognese-Ravenna  (R.  58),  and  Castel  Bolognese- 
Faenza-Florence  (R.  59).  Town-offlce  in  the  Palazzo  Comunale  (p.  390), 
Piazza  del  Nettuno;  sleeping-car  agency  at  the  rail,  restaurant.  —  Second- 
ary Station,  outside  the  Porta  San  Vitale  (PI.  H,  3),  for  the  branch-line  to 
Budrio  and  Portomaggiore  (see  above). 

Hotels.  'Grand  Hotel  Brdn  (PI.  a;  C,  4),  in  the  Palazzo  Malvasia, 
Via  Ugo  Bassi  32,  German,  an  old  established  house,  R.  3V2-6,  bath  3, 
B.  IV2,  dej.  31/2,  D.  5,  pens.  10-12,  omnibus  I-IY2  fr. ;  *H6tel  d'Italie- 
Baglioni  (PI.  d ;  D,  4),  in  the  Palazzo  Mattei,  cor.  of  Via  Ugo  Bassi  and  Via 
Pietrafitta,  R.  from  31/2,  B.  IV2,  d^j.  31/2,  D.  41/2,  omn.  1  fr. ;  both  of  the 
first  class,  with  lift  and  steam-heating.  —  Hot.  Pellegrino  (PI.  c;  D,  4), 
Via  Ugo  Bassi  7,  with  lift  and  covered  court,  well  spoken  of,  R.  2V2-3, 
B.  1,  d^.j.  2V2,  D.  4,  pens,  (for  a  stay  of  not  less  than  3  days)  8-9  fr.,  wine 
included,  omn.  '/2-V4  f''-  (visited  by  Lord  Byron  in  1819,  according  to  an 
inscription) ;  Stella  d'Italia  (Pl.  f ;  E,  4),  Via  Rizzoli  6,  with  frequented 
restaurant,  R.  274-3V4  fr.,  omn.  60  c.,  Italian,  very  fair;  Hot.  do  Parc  & 
Corona  d'Italia  (PI.  e;  E,  2),  Via  deir  Indipendenza  65;  Hot.  Tre  Re  & 
MfiTROPOLE  (Pl.  h;  E,  4),  Via  Rizzoli  26,  with  steam-heating  and  good 
restaurant,  R.  2-3,  omn.  8/4  fr. ;  Alb.  San  Marco  (Pl.  1;  E,  2),  Via  deir  In- 
dipendenza 60.  —  Less  pretentious:  Commercio  (Pl.  i;  E,  4),  Via  degli 
Orefici  2,  well  spoken  of;  Alb.  Roma  (Pl.  k;  D,  5),  Via  d'Azeglio  11; 
QuATTRO  Pellegrini  (Pl.  g;  E,  4),  Via  Rizzoli,  R.  2i/j  fr.,  very  fair;  Alb. 
MiLANO,   opposite  the  rail,  station,   well  spoken  of;  Tre  Zuochbttb,    Via 


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BOLOGNA.  56.  Route.   387 

della  Canepa  2  (PI.  E,  4),  with  a  frequented  trattoria,  R.  IV2-2  fr.,  quite 
unpretending. 

Cafes.  Caffi  Sati  Pietro,  Via  Indipendenza  5,  near  the  Piazza  del 
Nettuno,  Central  Bar,  Piazza  del  Nettuno  (cor.  of  Via  delT  Indipendenza), 
both  much  frequented  in  the  evening;  Calfi  delle  Scienze,  Via  Farini  24; 
Caffi  del  Coiiimercio ,  Via  Ugo  Bassi  (concerts  in  the  evening).  —  Con- 
fectioners:   Viscardi,  Via  Rizzoli;  Maiani,  Via  Ugo  Bassi. 

Restaurants.  At  the  hotels ;  also :  Ristoranie  Firenze ,  Via  Indipen- 
denza 10;  Rittorante  Eden  (see  below),  Via  Indipendenza  69;  Ristorante  al 
Vino  del  C/iianti,  Via  Uizzoli  20b;  Caffe  del  Risorgimento,  Piazza  del  Nettano. 

Birrerie  (comp.  p.  xxiii).  Central  Bar  (see  above).  Piazza  del  Nettuno ; 
Birreria  Rotizani,  at  the  Alb.  del  Commercio,  Via  degli  Orefici  2;  Birreria 
Belletti,  with  good  restaurant,  open-air  establishment  in  summer,  outside 
the  Porta  Azeglio. 

Post  Office  (PI.  30;  D,  4)  in  the  Palazzo  Comunale,  Piazza  del  Nettuno 
(to  be  transferred  to  the  new  building  in  the  Piazza  Minghetti,  PI.  E,  5). 

—  Telegraph  Office  (PI.  31 ;  D,  4),  on  the  groundfloor  of  the  Palazzo  Comunale, 
entrance,  Via  Ugo  Bassi  2. 

Gabs.  To  or  from  the  station  1,  at  night  (10  p.m. -5  a.m.,  in  winter 
9-6)  I'/'i  fr- ;  luggage  25-50  c.  Per  drive,  within  the  town,  */^,  at  night  1  fr. ; 
inside  the  fortifications  (Certosa,  etc.)  first  '/2  hr.  1  or  I'/j  fr.,  eacU  follow- 
ing '/j  hr.  3/^  or  1  fr.  Outside  the  town:  to  the  Giardini  Margherita, 
San  Michele  in  Bosco,  etc.,  2  fr.  per  hour;  to  the  Madonna  di  San  Luca 
(3  hrs.)  10  fr. 

Electric  Tramways  (10-15c.).  1.  Porta  d'Azeglio  (P\.  D,  7)-Piazza  Vittorio 
Emanuele  (PI.  E,  4,  5)-Ferrovia  (station;  PI.  E,  1).  —  2.  Porta  Mazzini 
(PI.  H,  6)-Via  Rizzoli  (PI.  E,  4)-Via  Ugo  Baisi  (PI.  D,  i:)- Porta  Aurelio 
Saffi  (PI.  A,  3).  —  3.  Piazza  Vittorio  Fmanuele-P orta,  Sant'  Isaia  (PI.  A,  4)- 
CeHosSi- Meloncello  (see  below).  —  Also  from  the  Piazza  Vitt.  Emanuele  to 
most  of  the  other  town-gates. 

Steam  Tramways.  1.  From  the  Piazza  Malpighi  (PI.  C,  4),  by  the  Porta 
Saragozza  to  (I'/i  M.)  Meloncello  (1st  class  30,  2nd  class  15  c.)  and  to 
(S'/i  M-)  Cataleechio,  both  at  the  foot  of  the  Madonna  di  S.  Luca  (p.  408), 
and  to  (14V2  M.)  Bazzano  and  (20  M.)  Yignola  (p.  376).  —  2.  From  a  point 
about  500  yds.  outside  the  Porta  Galliera  (PI.  E,  1)  to  the  N.  to  (I8V2  M.,  in 
l'/4  hr.)  Pieve  di  Cento,  whence  there  is  a  diligence  to  Cento,  comp.  p.  378. 

—  3.  To  the  N.E.  to  (23V2  M.)  Malalhergo. 

Batha.  Villa  Rosa  ('Casa  di  Salute'),  outside  the  Porta  Castiglione; 
Bagni  di  Santa  Lucia,  Via  Castiglione  43;  Bagni  del  Reno,  Via  S.  Felice  74. 

Theatres.  Teatro  Comunale  (PI.  60;  F,  4),  Via  Zamboni  30,  erected  by 
lUbbiena  in  1756-63,  performances  usually  in  late  autumn  only;  T.  del  Corso 
(PI.  62;  F,  5),  Via  Santo  Stefano  31,  opened  in  1805,  reconstructed  in  1902; 
T.  Bute  (PI.  64;  F,  6),  Via  Cartoleria  42;  T.  Contavalli  (PI.  61;  F,  3),  Via 
Mentana  2,  established  in  1814  in  the  former  church  of  the  Carmelites.  — 
Eden  Music-Ball  (PI.  E,  1),   Via  delT  Indipendenza  69,   sometimes  closed. 

Open-air  Concert  (comp.  the  newspapers)  generally  on  Sunday,  1.30-3p.m., 
in  the  Piazza  Galvani,  at  the  back  of  S.  Petronio;  in  summer  in  the  Giar- 
dini Margherita  (p.  4(}5). 

The  Giuoco  del  Fallone,  or  ball-game,  in  the  Arena  del  Pallone  (PI.  65; 
E,  F,  2),  in  July-Scpt.  only,  is  well  worth  seeing  (charge  for  admission; 
comp.  the  bills). 

Booksellers.  Nice.  ZanichelU,  in  the  Portico  del  Pavaglione  (p.  394), 
under  the  arcades  of  the  Via  delP  Archiginnasio.  —  Exhibition  of  In- 
nusTitiAL  Akt,  ^Emilia  Ars,  Via  Ugo  Bassi  21.  —  Photographs.  Poppi,  Via 
d'Azeglio  19;  at  the  Colombo,  in  the  Pavaglione.  —  Newspapers.  11  Resto 
del  Carlino ;  La  Gazzetta  delV  Emilia;  L^Avvenire  d' Italia  (clerical). 

Bank.     Banca  Commerciale  Italiana,   Via  Riz/.oli  (Piazza    del  Nettuno). 

Shops.  The  best  are  in  the  Portico  del  Pavaglione,  Via  dell'  Archi- 
ginnasio,  and  in  the  Via  Rizzoli,  Via  Ut;o  Bassi,  Via  delT  Indipendenza, 
etc.  —  Specialities  of  Bologna  are  TagUatdle,  also  Tortellini  or  Cappelletli 
(rolled  maccaroni  filled  with  meat,  for  soup)  and  Salami  or  Mortadella 
(Bologna  sausage).    Bologna  liqueurs  (bibite)  arc  also  esteemed. 

25* 


388    Route  56.  BOLOGNA.  Collections. 

American  Consular  Agent,   Cav.  Dr.  Carlo  Oardini,  Via  Barberia  7. 

English  Church  Service  in  the  Hotel  Brun  from  March  to  May  and  from 
the  end  of  Sept.  to  the  end  of  November.  —  Italian  Protestant  Church, 
Via  CastigUone  10  (first  floor);  service  at  10.30  a.m. 

Church  Festivals.  On  the  Sat.  before  Ascension  Day  the  picture  of 
the  Madonna  di  San  Luca  (p.  406)  is  carried  in  solemn  procession  to  the 
cathedral  of  San  Pietro,  and  on  the  following  Wed.  to  San  Petronio.  On 
Ascension  Day  it  is  brought  back  in  similar  style  to  its  ordinary  resting- 
place.  —  The  Fetla  deW  Addobbo^  with  processions  of  children,  takes  place 
in  the  various  parish-churches  on  the  2nd,  3rd,  and  4th  Sun.  of  June. 

Collections,   etc.     The   principal  churches,   with  the  exception  of  San 
Domenico  (p.  395)  and  San  Francesco  (p.  3S6),  are  open  all  day. 
Biblioteca  Comunale  (p.  394),  daily  e.^;cept  Sun.,  10-4  (Nov.-March  7-10  p.m. 

also). 
Miiseo  Civico  (p.  3S2),  week-days  9-4  (Nov.-March  10-3),  1  fr. ;  Sun.  &  holi- 
days 10-2,  free. 
Mtiseo  di  San  Petronio  (p.  392),  daily  10  3,  25  c. 
Picture  Gallery  (Reale  Pinacoleca;  p.  401),    week-days  9-3  (April-Oct.  9-4), 

1  fr. ;  Sun.  &  holidays  11-2,  free. 
University  Library  (Biblioteca  tfniversitaria ;  p.  401),  week-days  9-4. 

Principal  Attractions  (1V2-2  days).  1st  day:  Piazza  del  Ncttuno  and 
Piazza  Vitt.  Emanuele  (p.  300),  °S.  Petronio  (p.  391),  °S.  Domenico  (p.  395), 
S.  Giovanni  in  Monte  (p.  3iJ8),  °S.  Stefano  (p.  398),  Mercanzia  (p.  397, 
•Museo  Civico  (p.  392);  in  the  afternoon,  excursion  to  S.  Michele  in  Bosco 
(p.  405),  or  to  the  "Madonna  di  S.  Luca  (p.  406).  —  2nd  Day:  "8.  Giacomo 
Maggiore  (p.  400),  S.  Cecilia  (p.  400),  Picture  Gallery  (p.  401).  If  time 
remains,  the  Palaces  Bevilacqua  (p.  396),  Fava  (p.  397),  and  Sampieri 
(p.  39'.'),  may  be  visited  and  some  time  devoted  to  the  Giardini  Margherita 
(p.  405)  or  the  Certosa  (p.  406). 

Bologna  (165  ft.),  with  128,000  inhab.,  one  of  the  most  ancient 
and  important  towns  in  Italy,  the  capital  of  the  Emilia,  and  a  strong 
fortress,  is  situated  in  a  fertile  plain  at  the  base  of  the  Apennines, 
between  the  Reno  (p.  364),  the  Aposa,  and  the  Savena.  It  possesses 
a  venerable  and  celebrated  university,  whence  the  inscription  on 
old  coins  ^Bononia  docet\  and  is  the  seat  of  an  archbishop  and  the 
headquarters  of  the  8th  army  corps.  The  usually  long  and  narrow 
streets  with  arcades  on  both  sides,  the  numerous  old  palaces  and  the 
venerable  churches,  the  quaint-looking  towers,  and  the  town-wall 
[6^/2  M.  long;  13-14th  cent.,  partly  pulled  down  since  1902),  all 
bear  testimony  to  the  peculiar  character  and  at  the  same  time  to  the 
prosperity  of  Bologna.  The  mean  annual  temperature  is  2°  Fahr. 
lower  than  that  of  Florence.  Drinking-water  is  brought  to  the  town 
by  the  aqueduct  (12  M.  long)  mentioned  at  p.  407. 

The  town  was  perhaps  founded  by  the  Ligurians  and  afterwards  oc- 
cupied by  the  Umbrians  (ca.  800-600  B.C.?)  and  the  Etruscans  (ca.  600- 
400  B  C),  who  named  it  Felsina.  It  was  afterwards  conquered  by  the 
Gallic  Boii,  and  by  them  called  Bononia.  In  the  Punic  War  it  espoused 
the  cause  of  Hannibal,  after  which,  B.C.  189,  it  was  converted  into  a 
Roman  colony,  a  little  before  Parma  and  Mutina  (Modena),  by  the  consul 
C.  Laelius,  and  as  such  was  a  place  of  very  great  importance.  It  after- 
wards belonged  to  the  Greek  Exarchate,  and  then  to  the  Lombards  and 
Franks.  In  1112  Emp.  Henry  V.  constituted  Bologna  a  free  town  (whence 
its  motto  '■  Libertas^).  The  University,  said  to  have  been  originally 
founded  by  Theodosius  the  Great  (425),  acquired  a  European  reputation 
as  a  School  of  Jurisprudence,  under  Irnerius,  who  introduced  the  study  of 
Roman  law  about  1088 ,  and  his  successors ,  the  'Glossatores'.  Students 
streamed  to  it  not  only  from  all  parts  of  Italy  but  also  from  the  countries 


Art  History.  BOLOGNA.  56.  Route.   389 

of  the  North.  In  the  12-13th  cent,  their  number  was  generally  3-5000 
and  in  1262  it  is  said  to  have  attained  to  nearly  10,000.  The  study  of  med- 
icine and  philosophy  was  introduced  at  a  later  period,  and  a  theological 
faculty  was  established  by  Pope  Innocent  VI.  The  anatomy  of  the  human 
frame  was  first  taught  here  in  the  14th  cent.  ,  and  galvanism  was  disco- 
vered here  by  Lui(/i  Qalvani  in  1789.  It  is  a  remarkable  fact  that  the  uni- 
versity of  Bologna  has  numbered  women  among  its  professors.  Thus,  in 
the  14tU  cent.,  Novella  d' Andrea,  a  lady  of  great  personal  attractions,  who 
is  said  to  have  been  concealed  by  a  curtain  during  her  lectures;  at  a  subse- 
quent period  Laura  Bassi  (d.  1778;  mathematics  and  physical  science), 
Mme.  Mazzolini  (d.  1774;  anatomy),  and  more  recently  (1794-1817)  Clotilda 
Tambroni  (Greek).  —  The  university ,  unlike  the  university  of  Padua, 
exercised  little  influence  on  the  development  of  art. 

Bologua  acted  a  very  prominent  part  in  the  contests  of  the  Guelphs 
and  Ghibellines;  as  a  member  of  the  league  of  Lombard  cities  it  espoused 
the  cause  of  the  former  in  1167,  and  allied  itself  with  the  Pope  against 
Emp.  Frederick  II.  In  a  sanguinary  encounter  at  Fossalta,  in  May,  1249, 
King  Enzio,  son  of  the  Emperor,  was  captured  by  the  Bolognese,  who 
kept  him  in  confinement  for  the  rest  of  his  life  (22  years,  p.  391).  The 
possession  of  Bologna  was  energetically  disputed  in  the  14th  cent,  by  the 
Pepoli  of  Bologna,  the  Visconti  of  Milan,  and  the  popes ;  but  in  1401  the 
powerful  family  of  the  Bentivogli  succeeded  in  making  themselves  masters 
of  the  city.  Protracted  feuds  with  the  papal  throne  followed,  until  in 
1506  Pope  Julius  II.  incorporated  Bologna  with  the  States  of  the  Church. 
In  1515  the  interview  of  Pope  Leo  X.  with  Francis  I.  of  France  took 
place  at  Bologna,  and  in  1529,  1530,  and  1532  those  of  Clement  VII.  with 
Emp.  Charles  V.  Here,  too,  the  Council  of  Trent  held  a  meeting  in  1547. 
In  179B  Bologna  was  annexed  to  the  'Cisalpine  Republic'  by  Napoleon;  in 
1815  it  again  became  subject  to  the  States  of  the  Church;  in  1831  and  1848 
revolutions  broke  out ,  and  in  1860  the  town  finally  united  itself  to  the 
kingdom  of  Italy. 

In  the  History  of  Art  Bologna  did  not  attain  to  any  distinction  till 
a  comparatively  late  period.  In  the  Gothic  era  it  at  length  became  am- 
bitious of  possessing  within  its  walls  the  largest  church  in  Italy.  To 
this  ambition  it  was  indebted  for  San  Petronio,  which,  had  it  been  com- 
pleted, would  have  surpassed  in  size  all  the  other  cathedrals  in  Italy. 
Unfortunately,  however,  it  remained  a  torso,  and  gave  rise  to  innum- 
erable disputes.  The  Earlt  Renaissance  style  is  abundantly  represented 
here.  The  Palatial  Edifices,  constructed  of  brick ,  with  their  ground 
(loors  opening  in  arcades  towards  the  street,  impart  a  peculiar  charm  to 
the  town.  Baldassare  Peritzzi  (1481-1537),  the  famous  Sienese  architect, 
lived  for  a  considerable  time  in  Bologna. 

SoDLPTURB  was  chiefly  practised  by  foreign  masters.  Thus,  as  early 
as  about  1267  Niccolb  Pisano  (p.  430)  and  his  pupils  were  engaged  to  em- 
bellish the  tomb  of  San  Doiuenico;  the  reliefs  on  the  principal  portal  of 
San  Petronio  were  executed  by  Jacopo  delta  Querela  (1374-1438)  of  Siena, 
one  of  the  founders  of  Renaissance  sculpture.  A  little  later  the  most  pro- 
minent sculptors  were  Southern  Italians  :  Niccolb  deW  Area  (d.  1494),  of  Bari, 
and  Yincenzo  Onofri.  Michael  Angela  worked  here  more  than  once.  In  1494, 
when  a  fugitive  from  Florence  shortly  before  the  banishment  of  the  Medici, 
he  found  occupation  in  the  church  of  S.  Domcnico;  and  in  1506-8  he 
executed  the  bronze  statue  of  Pope  Julius  II.  for  the  facade  of  S.  Petronio 
(p.  391).  Of  the  other  Renaissance  masters,  who  are  well  represented  jit 
Bologua,  Alfonso  Lombardi ,  or  properly  Cittadella  of  Lucca  (1497-1537), 
holds  the  highest  rank ;  he  was  the  son  of  a  native  of  Lucca  who  emigrated 
to  Ferrara  in  1496.  Bologna  was  also  the  birthplace  of  Properzia  de'Rvssi 
(1490-1530),  one  of  the  few  women  who  have  devoted  themselves  to  sculpture. 

In  the  province  of  Painting  we  are  struck  by  Bologna's  close  connec- 
tion with  the  School  of  Ferrara,  due  probably  to  the  dearth  of  impor- 
tant native  masters  (comp.  p.  380).  The  first  Hobignese  master  who  attained 
more  than  a  local  reputation  was  Francesco  Frnncia  (1450-1517),  the  gold- 
smith, who  owed  much  to  Lorenzo  Costa  of  Ferrara.     In  the  devcition  and 


S90  Route  56.  BOLOGNA.  Centre  of  the  Town: 

gracefnlneas  of  his  female  figures  he  almost  rivals  Perugino,  as  well  as  in 
his  portraits.  Francia,  like  Costa,  must  he  judged  by  his  easel-paintings 
(in  S.  Giacomo  Maggiore ,  S.  Giovanni  in  Monte,  Pinacoteca),  not  by  his 
frescoes,  in  which  both  are  far  inferior  to  their  Florentine  contemporaries. 
Timoteo  Viti  (1467-1523),  a  pupil  of  Francia,  is  mentioned  at  Urbino,  as 
Raphael's  first  master.  With  Francesco's  son  Oiacomo  Francia  (d.  1557),  for 
a  time  influenced  by  the  Venetian  school,  begins  a  period  of  decline,  which 
was  not  arrested  even  by  Raphael's  influence,  represented  in  Bologna  by 
Bartol.  Ramenghi,  snrnamed  Bagnacavallo  (d.  1542),  and  Innocenzo  da  Imola 
(1494-1549).  Bologna  attained  its  greatest  importance  at  the  close  of  the 
16th  century.  The  mannerism  into  which  Italian  painting  had  gradually 
lapsed  was  resisted  by  the  Eclectics,  whose  style  was  mainly  introduced 
by  Lodovico  Carracci  (1555-1619).  In  teaching  at  his  academy  he  inculcated  a 
thorough  mastery  of  the  elements  of  art,  a  comprehensive  education,  and 
a  careful  study  of  the  great  masters.  The  school  was  afterwards  carried 
on  by  his  cousins  Agostino  (1557-1602)  and  Annibale  Carracci  (1560-1609), 
the  last  of  whom  in  particular  possessed  a  refined  sense  of  colour,  devel- 
oped by  the  study  of  Correggio.  To  this  school  belonged  also  Ouido  Reni 
(1574-1642),  Domenichino  (Domenico  Zampieri;  1581-1641),  Alessandro  Tiarini 
(1577-1668),  Guercino  (p.  378),  and  Franc.  Albani  (1578-1660),  who  exercised  a 
great  influence  on  Italian  art  in  the  17th  cent.,  and  efiected  a  temporary  revi- 
val of  good  taste.  They  afterwards  came  into  collision  with  the  naturalists, 
chiefly  at  Rome  and  Naples,  but  at  Bologna  their  sway  was  undisputed. 
The  centre  of  the  to-wn  is  occupied  hy  the  *Piazza  Vittoeio 
Emanublb  (PI.  E,  4,  5),  formerly  Piazza  Maggiore,  and  the  Piazza 
DEL  Nettuno  (PI.  E,  4),  which  lie  at  right  angles  to  one  another 
and  together  form  one  of  the  most  interesting  town-squares  in  Italy. 
In  the  Piazza  VittorioEmanuele  rises  a.n  Equestrian  Statue  of  Victor 
Emmanuel  II. ,  in  bronze,  by  Monteverde,  erected  in  1888.  The  king 
is  represented  in  the  act  of  leading  the  Sardinian  troops  at  the  battle 
of  Solferino  (p.  218).  The  Piazza  del  Nettuno  is  adorned  with  a 
*¥ouiitain  by  Oiov.  da  Bologna  {Jean  Boulogne,  see  p.  471),  one 
of  the  most  effective  works  of  the  late  Renaissance,  erected  in 
1563-67  from  the  design  of  Tomm.  Laurati  of  Palermo ,  with  a 
bronze  statue  of  Neptune  (over  8  ft.  high)  and  'putti'  and  sirens 
upon  dolphins.  —  To  the  W.  is  situated  the  — 

Palazzo  Comunale  (PI.  D,  4,  5),  an  extensive  Gothic  building 
begun  about  1290,  largely  rebuilt  in  1425-30  by  Fieravante  Fieravanti 
after  a  fire,  and  restored  in  1885-87.  The  clock-tower  dates  from 
1444.  The  bronze  statue  of  Pope  Gregory  XIII.  {Buoncompagni  of 
Bologna),  over  the  main  entrance,  is  by  Menganti  (1580).  Above, 
to  the  left,  is  a  relief  of  the  Madonna  (formerly  gilded)  by  Niccolb 
deW  Area  (1478). 

A  wide  staircase,  ascribed  to  Bramante,  ascends  from  the  N.W.  angle 
of  the  anterior  court  to  the  first  floor.  The  Hercules  Room  here  contains 
a  terracotta  figure  of  Hercules  by  Alf.  Lombardi  (1520)  and  a  faded  fresco 
by  Franc.  Francia  (1505),  representing  the  Madonna  del  Terremoto  (the 
Madonna  in  clouds  above  the  city  of  Bologna).  —  On  the  second  floor  is 
the  Sala  Farnese,  with  frescoes  by  Carlo  Cignani. 

Opposite,  on  the  E.  side  of  the  Piazza  del  Nettuno,  is  the  for- 
mer Palazzo  del  Podestk  (PI.  29;  E,  4),  of  1201,  but  rebuilt  in 
the  early-Renaissance  style  in  1492-94.  The  great  hall,  in  which 
the  conclave  for  the  election  of  Pope  John  XXIII.  was  held  in  1410, 
is  called  Sala  del  Re  Enzio,  after  the  young  and  poetically-gifted 


San  Petronio.  BOLOGNA.  56.  Route.   391 

King  Euzio,  who  was  kept  a  prisoner  by  the  Bologuese  from  1249 
to  1272  in  the  neisrhtouring  Palazzo  del  Re  Enzio  (restored  in  the 
mediaeval  style  in  1905).  Enzio  was  solaced  by  his  attachment  to 
the  beautiful  Lucia  Viadagola,  from  whom  the  Bentivoglio  family  is 
descended.  —  The  adjoining  Portico  de'  Banchi,  erected  in  1400, 
rebuilt  by  Vignola  in  1562,  and  restored  in  1888,  is  used  for  shops. 

The  church  of  Santa  Maria  della  Vita  (PI.  17;  E,  5),  in  the  Via 
Clavature,  was  rebuilt  in  1688  by  O.  B.  Bergonzoni.  It  contains  an  oratory, 
to  the  right  of  the  choir,  in  which  is  a  Pieta,  a  remarkably  realistic  terra- 
cotta group  by  Nice.  deW  Area  (1463),  and,  in  an  upper  room,  to  the  left, 
is  a  Death  of  the  Virgin,   a   terracotta  group  by  Alfonso  Lombardi  (1519). 

In  the  Via  dellb  Assb,  on  the  left  (No.  2B),  is  the  Palazzo  Montpensier 
(1603);  and  on  the  right  (No.  6),  the  Palazzo  Marescalchi  (PI.  D,  4),  erected 
by  Doni.  Tibaldi  (?),  and  containing  some  frescoes  by  Lod.  Carracci  and 
Guido  Reni.  —  The  neighbouring  church  of  San  Salvatoee  (PI.  22;  !>,  5) 
was  rebuilt  in  the  baroque  style  by  Tomm.  MarteUi  and  Oior.  Ambr.  Magenta 
in  1605-25.  1st  chapel  to  the  left,  Qarofalo^  Zacharias,  St.  John,  and  saints ; 
left  transept,  Tiarini,  Nativity. 

In  the  S.E.  angle  of  the  Piazza  Vittorio  Emanuele  we  observe 
the  unfinished  facade  of  — 

*San  Petronio  (PI.  E,  5),  the  largest  church  in  the  town  and  de- 
dicated to  its  patron-saint,  begun  in  emulation  of  the  cathedral  of 
Florence  In  the  Gothic  style  in  1390  from  a  design  hy  Antonio  Vin- 
cenzi,  but  never  completed  (comp,  pp.  389,  479).  The  building  was 
planned  as  a  cruciform  basilica,  with  double  aisles  to  both  nave 
and  choir,  and  an  octagonal  dome  rising  above  the  centre  between 
four  towers  was  to  be  erected.  The  projected  length  was  upwards 
of  700  ft.,  that  of  the  transept  460  ft.,  while  the  dome  v/as  to  be 
500  ft.  high.  Only  the  nave  and  aisles  as  far  as  the  transept  were 
completed,  and  they  are  now  terminated  by  a  wall  and  an  apse  of 
the  breadth  of  the  nave.  Length  384  ft.,  breadth  157  ft.  The  nave 
is  182  ft.  high  and  47  ft.  broad;  its  pointed  vaulting,  made  quadri- 
partite by  Oirol.  Rinaldi  in  1626-54  (?),  is  borne  by  twelve  pillars. 
Below  the  vaulting  are  small  round  windows.  The  aisles  are  about 
half  as  broad. 

Of  the  Facade  only  the  lower  portion  has  been  completed  (ca. 
1556),  after  a  drawing  by  Dam.  da  Varignana  (1518).  The  *Sculp- 
tnres  of  the  principal  entrance  are  by  Jacopo  della  Querela  (1425- 
38):  on  the  pilasters  in  front,  scenes  from  Genesis;  above  the  door, 
Life  of  Christ;  in  the  pediment.  Madonna  with  SS.  Petronius  and 
Ambrosius  ;  also  statues  of  prophets  hy  Ant.  MinelLi  (1510-16).  The 
sculptures  of  the  side-doors  are  by  Tribolo  (1525)  and  Alf.  Lombardi. 

Over  the  principal  entrance  a  bronze  statue  of  Pope  Julius  II.  with 
the  keys  and  a  sword  in  his  left  hand,  by  Michael  Angela  (p.  389),  was 
placed  in  1508,  but  it  was  destroyed  by  the  populace  three  years  later, 
and  sold  as  old  metal  to  the  Duke  of  Ferrara,  who  used  it  in  casting  a 
piece  of  ordnance  ('Qiuliano''). 

The  "Interior,  which  is  far  superior  to  that  of  the  Duomo  at  Florence 
in  its  beautiful  proportions  and  abundant  overhead  lighting,  is  adorned 
with  numerous  sculptures  and  pictures.  Most  of  the  chapels  are  enclosed 
by  handsome  marble  screens,  dating  from  the  14th,  15th,  and  16th  cen- 
turies. —  Eight  Aisle.    1st  Chapel :  altar-piece  (God  the  Father  with  angels) 


392   Route  56.  BOLOGNA.  Centre  of  the  Town: 

by  Oiacomo  Francia  (1518;  the  master's  earliest  work);  2nd  Chapel  (r.) 
frescoes  of  the  year  1417.  4th  Chapel:  Fine  stained  glass  by  Jacob  of  Ulm 
(1466).  6th  Chapel :  altar-piece,  St.  Jerome,  by  an  imitator  of  Franc.  Cotsa. 
8th  Chapel :  good  inlaid  stalls  by  Fra  Raffaele  da  Brescia  (1521).  9th  Chapel 
(di  Sant'  Antonio) :  Statue  of  the  saint,  an  early  work  of  Sansovino,  and  the 
eight  Miracles  wrought  by  him,  in  grisaille,  by  Qirolamo  da  Treviso;  fine 
stained  glass  from  designs  by  Michael  Angela  (1).  11th  Chapel:  Assumption 
of  jSIary,  a  high-relief  by  Tribolu  (1526),  the  two  angels  by  his  pupil  Properzia 
de'  Rossi;  opposite  to  it  is  a  Pieta  by  Viitcenzo  Onofri  (recently  repainted). 

Under  the  canopy  of  the  Choir.  Charles  V.  was  crowned  emperor 
by  Pope  Clement  Vll.  on  24th  Feb.,  1530,  this  being  the  last  occasion  on 
which  a  German  emperor  was  crowned  in  Italy.  Charles  had  previously, 
with  his  own  hands,  placed  the  iron  crown  (p.  166)  on  his  head  in  the 
Palazzo  Comunale. 

Left  Aisle.  The  Cappella  Baciocchi  (5th  from  the  altar)  contains  the 
monument  of  Princess  Elisa  Baciocchi  (d.  1820),  grand-duchess  of  Tuscany 
and  sister  of  Napoleon,  and  of  her  husband  Felix.  Over  the  altar  a  'Ma- 
donna by  Lorenzo  Costa  (1492),  by  whom  the  fine  stained  -  glass  windows 
were  also  designed.  By  the  pillar  to  the  right  of  the  chapel  is  the  tomb 
of  Bishop  Ces.  Nacci,  by  Vine.  Onofri  (ca.  1480).  In  front  of  it,  on  the 
pavement,  is  the  meridian -line  drawn  by  the  astronomer  Oiov.  Domenico 
Cassini  in  1656  and  renewed  by  Eustachio  ZanoUi  in  1776.  —  7th  Chapel 
(Capp.  Marescotti):  Altar-piece,  Martyrdom  of  St.  Sebastian,  by  an  imitator 
of  Franc.  Cossa,  to  whom  also  are  ascribed  the  Annunciation  and  the  Twelve 
Apostles  on  the  side-walls.  Fine  carved  .stalls  by  Giac.  de"  Marchis  (1495). 
Pavement  of  glazed  tiles  from  Faenza  (1487).  —  The  8th  Chapel,  the  oldest 
in  the  church,  consecrated  in  1392,  contains  frescoes  of  the  beginning  of 
the  15th  cent.  :  Paradise  and  Hell  to  the  left,  recalling  Dante's  poem  ;  Gothic 
altar,  with  sculptures  in  marble,  and  stained  glass  by  Jacob  of  Ulm(1),  also 
worthy  of  note.  Between  this  and  the  9th  chapel  is  a  15th  cent,  fresco  of 
St.  Christopher.  —  Between  the  10th  and  Uth  chapels  is  an  old  stone  cross 
(11th  cent.),  which  formerly  stood  near  the  Porta  Ravegnana. 

The  small  Museo  di  San  Petronio,  in  the  former  Fabbriceria  (work- 
shop), at  the  end  of  the  N.  aisle,  also  deserves  a  visit  (adm.,  see  p.  388; 
catalogue,  1893,  25  c.).  —  Room  I.  On  the  walls  are  fifty  designs  and 
sketches  for  the  facade,  by  Bald.  Peruzzi,  Giulio  Romano.,  Vignola,  Palladio, 
and  other  masters  of  the  16-17th  cent.;  also  two  copies  (Nos.  7,  8)  of  the 
design  by  Dom  da  Varignana.  —  Room  II  contains  the  relics  of  the  church 
treasury  plundered  by  the  French  in  1796.  In  Case  1  are  vestments  of  the 
17- 18th  centuries.  In  Case  2  are  church  -  vessels  of  the  13- 18th  centuries. 
The  lower  part  of  Case  3  contains  the  choir-books  of  S.  Petronio,  made 
in  1473-1544;  above,  autographs  of  Orlando  di  Lasso,  Palestrina,  and  other 
musicians.  In  the  centre:  51.  Wooden  model  of  tbe  church,  by  Arduino 
Arriguzzi  (1514). 

To  the  S.E.  lies  tte  *Museo  Civico  (PI.  27 ^  E,  5),  founded  in 
1712,  and  accommodated  since  1881  in  the  Palazzo  Galvani,  Via  dell' 
Archiginnasio  2.  Entrance  nnder  the  arcades  of  the  Portico  delta 
Morte.  Adm.,  see  p.  388;  catalogues  only  for  the  Egyptian  anti- 
quities (1896;  10  fr.)  and  for  the  Vases  (1900;  20  fr.).  Director: 
I'rof.  Brizio. 

We  pass  through  the  Vestibule,  containing  a  few  Roman  monuments 
and  two  Etruscan  tombs  from  the  Certosa  (to  the  right,  the  ticket-office), 
and  enter  the  tastefully-restored  Colonnaded  Court  of  the  old  Ospedale 
delta  Morte  (1450),  in  which  the  ancient  and  mediceval  inscriptions  are 
preserved.  —  From  the  N.E.  angle  of  the  court  we  pais  tbrough  a  vestibule 
(R.  IV.),  containing  Roman  remains  found  in  Bologna,  into  the  Museo  del 
Risorgimento,  with  reminiscences  of  the  Napoleonic  wars  and  the  Italian 
War  of  Independence  (uniforms  of  Garibaldians).  In  the  centre,  weapons 
belonging  to  Murat.  —  In  a  second  court  fine  terracotta  ornaments  of  the 
14-16th  centuries. 


Muaeo  Civico.  BOLOGNA.  56.  Route.    393 

The  Upper  Flook  contains  first  the  Museo  d'Antichita.  —  Boom  I  (r.): 
Relics  of  the  prinaitive  dwellers  in  caves  and  lake-villages  in  the  province 
of  Bologna,  consisting  of  implements  of  flint  and  bone,  bones  shovving 
marks  of  saveing,  earthenvrare,  etc.  Adjacent  is  a  room  chiefly  containing 
prehistoric  antiquities  found  in  other  provinces  of  Italy  and  in  foreign 
countries.  —  We  pass  through  Room  II  into  Rooms  III-V,  containing 
Egyptian  antiquities;  in  Room  III,  steles,  in  the  centre  a  limestone  statue 
of  a  kneeling  youth.  Boom  IV:  Slummies  and  mummy-coflins,  statuettes 
of  gods  in  bronze,  wood,  and  enamel.  Room  V:  Limestone  reliefs  with 
scenes  from  domestic  life:  basalt  statuette  of  King  Nefer-hotep  (about 
2000  B.  C),  papyrus-leaves,  and  (in  the  centre  cabinet,  upper  shelf)  two 
gilded  scarabfei  with  the  cartouche  of  King  Ramses  III.  (14th  cent.  B.C.). 

—  Room  VI ;  Grreco- Roman  antiquities.  In  the  middle:  *A,  Head  of  Athena 
(without  helmet),  of  the  time  of  Phidias,  an  admirably  preserved  copy  of 
a  bronze  original ;  B,  Antique  gold  ornaments ,  silver  vessels ,  above, 
drinking  cups  (the  second  from  the  left  especially  noteworthy),  Attic 
lecythi  with  designs  on  a  white  ground  ;  C,  Less  important  marble  frag- 
ments, ind.  a  head  (bearded),  in  the  Pergamenian  style;  D,  Glass  vessels, 
Attic  vases  (lecythi  to  the  left);  E,  Greek  portrait-head,  bearded.  In  the 
wall-cases  :  F,  G,  Greek  and  Italic  vases ;  to  the  right  of  G,  at  the  window, 
Finely  carved  triangular  pillar  with  a  marble  vase.  By  the  window-wall: 
H-M,  Sculptures,  the  best  (under  .1  and  L;  to  the  left,  above,  a  modern 
woi'k  with  the  forged  signature  of  Salpion)  being  some  fragments  of  reliefs; 
under  31  is  a  Greek  tomb  relief  of  a  woman  standing,  and  to  the  left  of  it  a 
^Fragment  bearing  a  ram's  head.  In  wall-case  N,  terracottas. — Room  VII. 
Less  important  sculptures;  in  the  corner  to  the  right  is  a  boy's  head  with 
a  (modern)  hat  of  Hermes.  —  Room  VIII  (Monumenti  Italico-Etruschi): 
Etruscan  cinerary  urns  and  terracotta  figures,  mirrors,  bronze  statuettes, 
buckles  (fibuliE),  etc.  By  the  window-wall,  black  'Vasi  di  bucchero'.  In 
the  corner-case  by  the  rear-wall:  Etruscan  bronze  helmet;  statuette  of  a 
warrior  with  a  similar  helmet;  copy  of  a  similar  helmet  at  Turin.  The 
sculptures  (Celts  plundering  a  tpmple,  carrying  vS  captives,  etc.)  are  frag- 
ments fr<im  the  pediment  of  an  Erruscan  temple  at  Arcevia  in  the  Marches. 

—  Room  IX  :  By  the  window-wall,  luarlde  Iraj^ments;  opposite,  H,  bronze 
weights,  scale.s,  key.«,  spoons,  bells,  rings;  I,  lamps,  glasses;  in  the  centre, 
IS,  good  bronze  statuettes,  ivory  carvings,  glass  vessels,  lamps. 

Room  X  (Monumenti  della  Necrupoli  Felsinea)  contains  the  most 
important  objects  of  the  collection,  affording  an  excellent  survey  of  the 
successive  degrees  of  culture  through  which  the  inhabitants  of  Felsina  (see 
p.  388)  or  Bononia  passed.  Cases  A-D,  0-T,  and  V  in  the  first  part  of  the 
room,  contain  the  earliest  objects  (Umhrian  Period),  including  early-Italic 
vases  (the  oldest  with  scratched  or  engraved  patterns,  those  of  a  later  date 
with  stamped  ornaments),  bronzes,  etc.  In  B  and  C  are  various  small 
ivory  articles,  which  indicate  intercourse  with  nations  bej'ond  the  sea. 
There  are  still  more  of  these  in  D,  which  also  contains  Phoenician 
enamelled  scarabsei.  The  cases  in  the  rear  part  of  the  room  illustrate  the 
Etruscan  Period:  steles  with  reliefs,  several  complete  graves,  etc.,  the 
result  of  the  systematic  excavations  recently  carried  on.  The  earliest  finds 
are  by  the  window-wall  (and  in  Room  II).  In  frcmt  of  the  3rd  window, 
a  bronze  vessel  with  a  sacrifice  and  procession,  found  in  the  Certosa;  in 
front  of  the  4th  window,  gold  and  silver  objects  (5-6th  cent.  B.  C).  In  EG 
(middle)  are  vessels  of  bronze,  bone,  glass,  and  Greek  vases  of  the  fifth 
cent,  (imported,  like  the  vases  of  the  5-6th  cent,  in  I-M,  by  the  rear- 
wall).  *H.  Objects  found  in  an  Etruscan  tomb,  including  a  fine  Attic 
amphora  (with  design  representing  Menelaus  and  Helen)  and  a  beautiful 
Etruscan  bron/e  candelabrum.  —  In  a  small  room  to  the  right  are  the 
contents  of  some  lioman  and  Celtic  Graves  that  were  discovered  below  a 
Roman  necropolis,  and  leaden  pipes  from  a  Roni,in  aqueduct  (p.  407). 

Room  XI  contains  about  14,000  Umbrian  bronze  articles,  found  in 
1877  in  a  'fouderia'  in  the  Piazza  San  Francesco. 

The  following  rooms  contain  the  Museo  Medioevalc  e  Moderno.  — 
Boom  XII:  Modern  weapons  and  armour  (including  a  lady's  suit  of  ar- 
inOTir);    ivory   saddle   of  the  beginning   of  the  Mth  cent.;   spur   of  gilded 


394   Route  56.  BOLOGNA.  Southern  and 

bronze  of  the  10th  cent. ;  Turkish  weapons ;  North  American  Indian  anti- 
quities, etc. —  RoomXUI:  Majolica  ware:  A,  Spanish-Moresque,  including 
a  platter  with  the  Medicean  arms  and  the  motto  'glovis'  (si  volge  la  for- 
tuna);  19.  Jar  (Faenza,  1499);  31.  Coronation  of  Charles  V.  (Faenza);  32. 
Myrrha  (Fano);  34.  Fontana  d'amore  (Faenza);  "355.  Presentation  of  the 
Virgin  by  Maestro  Qiorgio  (Gnbbio,  1532);  338.  Bathing  women  (Pesaro); 
384.  Trophies  (Castel  Durante) ;  in  the  centre,  G,  glass  ;  blue  vase  with  the 
Flight  into  Egypt  and  the  Adoration  of  the  Magi,  by  Beruviero  da  Mwano 
(14th  cent.);  glass  vessels  made  for  the  marriage  of  Giovanni  II.  Benti- 
voglio  and  Ginevra  Sforza  in  1465.  On  the  entrance-wall,  clay  vessels 
from  Peru,  Morocco,  and  Algeria.  —  Room  XIV:  A  and  B,  Limoges  ena- 
mels, ivory  articles,  etc.  C-F,  musical  instruments.  In  the  centre,  He, 
Hd,  ivory  reliefs  of  the  early  middle  ages,  combs  of  the  14th  cent.,  and 
Runic  calendars. 

Room  XV:  Sculptures  of  the  16-19th  cent.,  including  the  fine  tomb 
of  Pietro  Canonici  (d.  1502),  professor  of  law,  in  the  style  of  Vine.  Onofri, 
and  several  Jewish  tombstones.  On  the  back  wall,  marble  relief  of  the 
Birth  of  the  Virgin,  by  Jac.  della  Quercia,  and  bronze  bust  of  Gregory  XIII., 
by  Al.  Menganti;  in  the  middle  of  the  room,  N,  Model  of  Giovanni  da 
Bologna's  Neptune  (p.  3S0);  E,  F,  seals;  G,  H,  *Medals  of  the  Renaissance, 
including  portraits  of  Galeazzo  Marescotti  by  Sperandio,  Isotta  da  Rimini 
and  Leon  Battista  Alberti  by  Matleo  dei  Pasti,  and  Niccol6  Piccinino  by 
Vittore  Pisano. 

Room  XVI:  Sculptures  of  the  8- 15th  centuries.  In  the  middle,  copies 
of  the  Romanesque  stone  crosses  in  Butrio  (8th  cent.),  San  Giovanni  in 
Monte,  and  San  Petronio.  On  the  entrance-wall,  relief  of  the  Madonna  by 
Jac.  della  Querela.  By  the  window-wall,  bronze  statue  of  Pope  Boni- 
face VlII.  (d.  1303)  by  Manno,  a  Bolognese  goldsmith  ;  numerous  monu- 
ments to  Bolognese  professors,  the  most  noteworthy  of  which  are  those  of 
Giov.  da  Legnago  (d.  1383),  ascribed  to  the  brothers  Massegne  (p.  290),  and 
of  the  celebrated  jurist  Bartol.  di  Saliceto  (d.  1412),  by  Andrea  da  Fiesole. 

—  Room  XVII.  On  the  walls,  mediaeval  crucifixes  and  altar-pieces  (198. 
Marco  Zoppo,  Adoration  of  the  Child);  also  fine  choir -books.  On  the 
window-wall,  choir-mantle  of  the  14th  century.  In  the  centre,  two  Lom- 
bard pectoral  crosses;  bishops'  rings;  old  °Gnild-books,  among  the  most 
interesting  of  which  is  (Case  U)  that  of  the  weavers  (Societa  dei  Drap- 
pieri  or  Stracciaiuoli),  of  1411,  with  a  view  of  their  warehouse  near  the 
Porta  Kavegnana. 

The  other  rooms  of  the  Palazzo  Galvani  have  been  occupied  since 
1878  by  the  Akchivio  di  Stato  (entr.  Via  Foscherari  2). 

A  few  yards  to  the  S.,  past  the  busy  Portico  del  Pavaglione,  with 
its  shops,  the  scene  of  the  corso  of  the  fashionable  world  during  the 
colder  seasons  of  the  year  (4.30-6  p.m.),  is  the  Archiginnasio  Antico 
(PI.  E,  5),  erected  as  a  university  in  1562-3  by  Franc.  Terribilia, 
and  since  the  removal  of  the  latter  (p.  401)  used  as  a  Biblioteca 
CoMUNALE  (adm.,  see  p.  388;  170,000  vols,  and  2700  MSS.).  The 
former  anatomy  lecture-room,  built  by  Ant.  Levanti,  panelled  with 
wood,  is  worth  seeing.  In  the  same  building  is  the  little  Museo 
Qozzadini  with  prehistoric  antiquities  and  a  library.  —  In  the  Piazza 
Galvani,  in  front  of  the  Archiginnasio,  is  a  marble  Statue  of  Oal- 
vani  (1737-98;  p.  389),  who  was  a  native  of  Bologna. 

We  now  proceed  to  the  S.  to  the  Piazza  Cavoub,  (PI.  E,  5),  which 
is  embellished  with  gardens.  The  Banca  d'ltalia  (PL  24;  E,  5), 
by  Ant.  Cipolla  (1865),  is  situated  on  the  right  of  this  square,  and 
the  Palazzo  Ouidotti  (PL  46),  rebuilt  by  Corr.  Monti,  on  the  left. 

—  The  Via  Garibaldi  leads  hence  to  the  Piazza  Galileo  (PL  E,  6), 


S.W.  Quarters.  BOLOGNA.  56.  Route.    395 

in  which  rise  two  columns  with  statues  of  St.  Dominic  and  the  Ma- 
donna and  the  Gothic  tombs  of  Rolandino  Passeggieri  (d.  1300),  the 
teacher  of  law,  and  of  Egidio  Foscherari. 

The  adjoining  church  of  San  Domenico  (PI.  E,  6 ;  closed  12-2) 
was  erected  after  1235  in  honour  of  St.  Dominic,  who  was  born  in 
Castile  in  1170,  and  died  here  in  1221.  The  choir  was  not  com- 
pleted until  after  1350  and  the  facade  remained  unfinished.  The  in- 
terior was  completely  remodelled  by  Carlo  Franc.  Dotti  in  1728-31. 

Interior  (choir  and  Cappella  San  Domenico  opened  by  a  lay-brother). 
—  In  the  centre  of  the  right  aisle  :  Chapel  of  San  Domenico  (restored 
1596-1605),  containing  the  tomb  of  the  saint :  a  "Sarcophagus  (Area  di  San 
Domenico)  of  white  marble  dating  from  1270,  with  good  reliefs  from  the 
life  of  the  saint,  by  Ificcold  Pisano  and  his  pupil  Fra  Guglielmo  (p.  451). 
The  sarcophagus,  originally  supported  on  pillars,  now  rests  on  a  base 
with  three  reliefs  by  Alfonso  Lombardi  (1532).  The  kneeling  °Angel  to  the 
left,  in  front,  a  graceful  early-Renaissance  work,  is  by  Niccolb  delV  Area, 
who  received  hia  surname  from  this  sarcophagus,  and  who  also  executed 
the  rich  canopy,  with  its  beautiful  wreaths  of  fruit  held  by  pufti  (1469-73). 
The  angel  on  the  right  is  an  early  work  of  Miehael  Angela  (1494),  who  also 
executed  the  St.  Petronius  immediately  over  the  sarcophagus,  with  the 
church  in  his  hand.  In  the  half-dome  over  the  area,  an  'Apotheosis  of 
St.  Dominic,  a  richly  coloured  fresco,  by  Outdo  Reni.  To  the  right  of 
the  entrance  to  the  chapel:  Al.  Ticirini,  St.  Dominic  resuscitating  a  boy; 
to  the  left,  Lionello  Spada,  St.  Dominic  burning  heretical  documents. 

In  the  Choir,  magnificent  inlaid  'Stalls  by  Fra  Damiano  da  Bergamo 
and  others,  1528-50.  The  finest  are  those  in  the  centre,  where  the  artist's 
name  is  seen,  to  the  left,  and  that  of  the  restorer,  Antcnius  de  Vicentia  (1744), 
to  the  right.  —  In  the  chapel  to  the  right  of  the  choir:  Pilippino  Lippi, 
Betrothal  of  St.  Catharine  (1501).  —  Between  the  Ist  and  2nd  chapels  on  the 
left  of  the  choir  is  the  monument  of 'Hencius  Rex',  or  King  Enzio  (p.  391), 
repeatedly  restored;  in  the  2nd  chapel  (r.)  that  of  Taddeo  Pepoli  (d.  1347), 
by  Jacopo  Lanfrani,  of  Venice ;  opposite  Enzio's  tomb  is  a  portrait  of 
St.  Thomas  Aquinas  (?;  much  retouched).  —  Left  Aisle:  The  large  Cappella 
DEL  RosAKio  (in  the  centre)  contains  the  tombs  oi  Quido  Rent  (d.  1642;  to 
the  left  a  memorial  stone;  his  grave  under  a  slab  in  the  centre)  and  the 
talented  painter  ElisaheUa  Sirani  (died  of  poison  at  the  age  of  26,  in  1665). 
The  frame  round  the  altar-piece  consists  of  small  paintings  by  Guide  Reni, 
the  Carracci,  Elisabetta  Sirani,  etc.  In  the  vestibule  of  the  side-entrance 
(to  the  right  in  going  out)  is  the  early-Eenaissance  monument  of  the  jurist 
Alessandro  Tartagni  (d.  1477),  by  Franeesco  di  Simone  of  Florence.  Oppo- 
site is  the  monument  of  the  Volta  family,  with  a  statue  of  St.  Proculus,  by 
Prospero  ClementH,'/)- 

To  the  S.  of  this  point,  in  the  Piazza  de'  Trihunali,  is  the  Pal. 
DI  GrnsTiziA  (PI.  E,  6),  originally  Palazzo  Euini,  with  a  facade  in 
the  style  of  And.  Palladio  and  an  oval  double  staircase  by  6.  B.  Pia- 
centini  (1710?). 

We  now  follow  the  Via  delle  Tovaglie  to  the  W.,  crossing  the 
Via  d'Azeglio,  to  the  Via  Tagliapietre,  in  which  rises  the  church  of 
Corpus  Domini  (PI.  D,  6),  erected  by  St.  Catharine  Vigri  (d.  1463) 
in  1456,  and  restored  in  1481.  The  early-Renaissance  brick  fajadc 
is  unfinished ;  the  decorations  of  the  portal  are  probably  by  Spe- 
randio.  The  interior,  gorgeously  decorated  in  1688  by  Marcant. 
Franceschini  and  Heinrich  Haffner,  contains  the  tomb  of  the  saint 
(2nd  altar  on  the  right). 

In  the  above-mentioned  Via  d'Azeglio  (No.  31)  is  the  *Palazzo 


396   Route  56.  BOLOGNA.  Central  and 

Bevilacqua  (PI.  D,  6),  an  early-Renaissance  structure  of  1481-84, 
with  no  arcade  on  the  groundfloor,  but  -with  a  jjortal  by  Franc,  di 
Simone  and  a  superb  court.  In  1547  the  Council  of  Trent  sat  here 
for  a  short  time.  — The  ViaUrbana  leads  hence  to  theW.  to  the  — 

CoLLEGio  DI  Spagna  (PI.  D,  6),  at  the  corner  of  the  Via  Sara- 
gozza,  erected  in  1365-67  by  Cardinal  Albornoz  (p.  356)  and  re- 
stored in  1565.  The  Renaissance  portal  is  by  Formigine{^f].  The 
flue  court  is  adorned  with  frescoes  (restored)  by  Ann.  Cnrracci,  and 
in  the  sacristy  of  the  chapel  (San  Clemente)  is  a  Madonna  and  saints, 
an  altar-piece  in  several  sections,  by  Marco  Zoppo.  —  Farther  on, 
Via  Saragozza  26,  to  the  left,  is  the  unfinished  Palazzo  Alhergati 
(PI.  C,  6),  of  151',);  the  upper  part  of  the  facade  was  not  completed 
till  after  1540. 

A  little  to  the  N.E.  of  the  Collegio  di  Spagna,  in  the  Via  de' 
Carbonesi,  is  the  church  of  San  Paolo  (PL  20;  D,  5),  erected  by 
O.A.  Magenta  in  1611,  with  pictures  by  Lod.  Carracci  (2nd  chapel 
on  the  right,  Paradise)  and  Giac.  Cavedone  (3rd  chapel  on  the  right), 
and  two  statues  by  Al.  Algardi^  at  the  high- altar  (Beheading  of 
St.  Paul).  —  Obliquely  opposite  to  it  (No.  11)  is  the  Pai.  Zambeccari 
di  San  Paolo  (PI.  58;  D,  5),  now  the  Banca  Popolare  di  Credito, 
and  in  the  Via  Val  d'Aposa  is  the  suppressed  chapel  oi  Spirito  Santo 
(PL  D,  5),  with  a  charming  early-Renaissance  facade  in  terracotta 
(restored  1893). 

The  Via  Barberia  leads  to  the  W.  from  San  Paolo  to  the  long 
Piazza  Malpighi  (PL  C,  4,  5),  on  the  W.  side  of  which,  next  the 
choir  of  S.  Francesco,  are  the  Tombs  of  the  jurists  Accursius  (d.  1230), 
Odofredus  (d.  1265),  and  (to  the  right)  Rolandino  del  Romanzi 
(d.  1286),  destroyed  in  1598  and  1803,  and  restored  in  1892  from 
Alf.  Rubbiani's  designs. 

The  early-Gothic  church  of  *Saii  Francesco  (PL  C,  4;  closed 
12-3)  was  built  hy  Marco  da  Brescia  in  1246-60.  Long  used  as  a  mili- 
tary magazine,  it  was  restored  to  its  sacred  uses  in  1887.  The  apse 
has  buttresses  in  the  northern  style.  To  the  left  is  a  fine  brick 
tower  by  Ant.  Vincenzi  (1397-1405). 

The  Interior  (entrance  on  the  N.,  opposite  the  market)  is  in  the  form 
of  a  basilica  with  aisles,  and  has  an  ambulatory  with  nine  recently  re- 
decorated chapels.  It  is  now  being  restored  by  Alf.  Rnbbiani.  The  left 
aisle  contains  the  tomb  of  Alexander  V.  (d.  1410),  with  the  recumbent  figure 
of  that  pope  by  Sperandio  (1482).  The  large  marble  "Altar  in  the  Choir, 
with  numerous  figures  and  reliefs,  is  the  earliest  known  work  of  the 
brothers  Massegne  of  Venice  (1388). 

From  the  N.  side  of  the  Piazza  del  Nettuno  (p.  390)  the  Via 
dell'  Indipendenza  (PL  E,  4-2;  p.  405),  laid  out  in  1888,  runs 
to  the  N.  to  the  central  railway-station.  Immediately  to  the  right 
rises  the  cathedral-church  of  — 

San  Pietro  (PL  E,  4),  founded  in  910,  with  a  choir  of  1575, 
by  Bom.  Tibaldi,  and  a  handsome  nave  restored  in  1605  et  seq.  in 
the  baroque  style,  by  Oiov.  Ambr.  Magenta.    The  fa(;ade  is  by  Alf. 


Eastern  Quarters.  BOLOGNA.  56.  Route.   397 

Torreggiani  (1743-48).  The  spacious  nave  has  barrel-vaulting,  the 
aisles  having  chapels  with  lofty  galleries.  In  the  crypt  is  a  Pieta, 
a  terracotta  group  by  Guido  Mazzoni  (?;  1504);  in  the  sacristy,  a 
Crucifliion  with  three  saints  by  Bagnacavallo ;  and  in  the  chapter- 
room,  St.  Peter  and  the  Apostles  with  the  mourning  Madonna  by 
Lod.  Carracci.  —  Adjoining  it,  in  the  Via  del  Monte,  is  the  Palazzo 
Arcivescovile  (PI.  28),  with  a  fine  court  by  Tibaldi  (1577). 

In  the  ViaManzoni,  to  theN.W.  of  S.  Pietro,  is  the  small  church 
of  the  Madonna  di  Galliera  (Fl.  13;  D,  E,  4),  rebuilt  in  1479, 
with  a  fine  early-Renaissance  brick  facade  by  Donate  da  Cernobbio 
(1510-18).  —  Opposite  is  the  Pal.  Fava  (PI.  41 ;  D,  4),  with  fres- 
coes by  the  Carracci  from  the  myths  of  Jason  and  ^neas. 

The  narrow  Via  Rizzoli  (PL  E.  4),  one  of  the  busiest  streets 
in  Bologna,  which  also  issues  from  the  N.  side  of  the  Piazza  del 
Nettuno,  leads  to  the  Piazza  di  Porta  Ravegnana  (PI.  F,  4).  Here 
stand  the  Leaning  Towbbs,  the  most  singular  structures  in  Bologna, 
though  plain  square  brick  buildings.  The  Torre  Asinelli  I  PI.  32; 
F,  4),  erected  about  1109  by  Gherardo  degli  Asinelli,  which  looks 
prodigiously  high  when  seen  from  the  pavement  below,  is  320  ft.  in 
height  and  4  ft.  out  of  the  perpendicular.  A  rough  staircase  of  447 
steps  leads  to  the  summit,  which  commands  a  fine  view.  (Entr. 
Via  Mazzini  2;  solitary  visitors  are  not  allowed  to  ascend;  fee 
50  c.)  The  unfinished  Torre  Garisenda  (PI.  33),  begun  in  1110 
by  Filippo  and  Ottone  Garisenda,  is  156  ft.  high  only,  but  is  8  ft. 
out  of  the  perpendicular.  Dante  (Inferno,  xxxi.  136)  compares  the 
giant  Antaeus,  who  bends  towards  him,  to  this  tower,  'when  a  cloud 
passes  over  it'.  —  On  the  W.  side  of  the  piazza  stands  the  hand- 
some Guild  House  of  the  Weavers  ('Arte  del  Drappieri'),  now  the 
Casa  Malaguti,  built  in  1496  and  restored  in  1620. 

From  the  leaning  towers  five  streets  radiate  to  the  gates  of  the 
same  names :  the  Via  Castiglione,  Santo  Stefano,  Mazzini,  San 
Vitale,  and  Zamboni.  To  the  right,  at  the  corner  of  the  Via  S.  Stefano 
and  Via  Castiglione,  is  situated  the  handsome  *Mercanzia  (PI.  F,  5), 
or  Loggia  or  Foro  de'  Mercanti  (Chamber  of  Commerce),  a  Gothic 
structure,  erected  in  1382-84  by  Lor.  di  Bagnon\arino ,  enlarged  in 
1439  by  an  addition  in  the  Via  Castiglione,  and  restored  in  1888-90 
by  Alf.  Rubbiani. 

In  the  Via  Castigiionb,  to  the  left,  is  the  Pal.  Pepoli  (PI.  51 ; 
F,  5),  of  1344,  the  castellated  residence  of  the  Pepoli  family  (the 
most  powerful  in  the  city  in  the  14th  cent.),  with  rich  gateways  and 
an  imposing  court  with  a  colonnade  on  one  side  and  arched  passages 
on  the  three  others.  —  Farther  on,  to  the  right,  rises  the  handsome 
Cassa  di  Risparmio  (PI.  25;  E,  5),  built  in  1868-76  of  Veronese 
marble  by  Gius.  Mengoni  (p.  137),  with  arrades  on  the  groundfloor 
and  handsome  wroiight-iron  gratings  at  tlie  windows.  —  Adjacent, 
in  the  Piazza  Minghetti  (PI.  E,  5),  is  a  bronze  statue  of  the  statesr- 
man  Marco  Minghetti  (1818-86),  by  Monteverde  (1896). 


398    Route  56.  BOLOGNA.  Central  and 

On  the  left  in  the  Via  Sajjto  Stefano  is  situated  — 
Santo  Stefano  (PI.  F,  5),  consisting  of  eight  different  edifices, 
the  oldest  of  which,  the  former  cathedral  of  Santi  Pietro  e  Paolo, 
was  probahly  founded  as  early  as  the  4th  century.     Three  of  the 
churches  have  their  entrances  on  the  street. 

The  present  Main  Chdboh  (1637)  has  a  pulpit  of  the  12th  cent,  on  its 
old  facade.  —  We  proceed  thence  to  the  left  into  the  tecond  church, 
'Santo  Sepolcro,  a  successfully  restored  circular  building  with  coloured 
brick  ornamentation,  erected  in  the  10th  cent.  (?),  and  perhaps  originally 
a  baptistery.  A  brick  column  was  placed  adjacent  to  each  of  the  seven 
antique  columns,  and  in  the  12th  cent,  the  tomb  of  St.  Petronius  (d.  430) 
was  added  in  imitation  of  the  Holy  Sepulchre  at  Jerusalem.  —  The  passage 
to  the  left  leads  to  the  third  church.  This  is  the  Romanesque  basilica  of 
Santi  Pietro  e  Paolo,  rebuilt  in  1019  and  frequently  altered,  while  the 
oxterior  was  rebuilt  in  1880-85.  The  roof  is  supported  by  columns  and 
pillars  alternately.  In  the  interior,  adjoining  the  choir  on  the  left,  is  a 
sarcophagus  dating  from  the  9th  cent.,  and  adorned  with  a  cross  between 
two  peacocks;  it  contains  the  bones  of  the  martyr  St.  Vitalis  (d.  382). 
On  the  right,  the  sarcophagus  of  the  martyr  Agricola  (9th  cent.),  who  is 
represented  with  wings,  between  a  stag  and  a  lion.  —  Behind  Santo 
Sepolcro  is  a  Colonnade,  the  Atrio  di  Pilato,  dating  in  its  present  form 
from  the  11th  cent. ;  in  the  centre  is  a  font  with  an  inscription  mention- 
ing the  Lombard  king  Liutprand  (d.  74i).  Chapel  on  the  left,  Crucifixion 
and  saints,  altar-piece  by  Oiac.  Francia.  —  Immediately  in  front  is  the 
fifth  church,  Chiesa  delta  Trinitd,  resting  on  piers,  in  the  centre  of  which 
is  a  series  of  columns  with  Romanesque  capitals.  In  the  3rd  chapel  to 
the  right  is  a  painted  terracotta  group  (14th  cent.),  of  the  Adoration  of  the 
Magi.  —  Turning  to  the  right  in  front  of  the  entrance  to  the  fifth  church 
we  enter  the  sixth  building,  the  Cappella  delict  Consola~ione,  to  the  right  from 
which  is  the  seventh  building,  the  Romanesque  Confessio  or  Crypt  (enclosed 
by  a  screen),  under  the  choir  of  the  first  church,  dating  from  the  11th  cen- 
tury. —  The  door  straight  in  front  admits  to  the  Cloisters  (11th  cent.) 
of  the  suppressed  Celestine  monastery. 

Opposite,  on  the  right,  are  (No.  11)  the  Pal.  Amorini-Bolognini 
(PI,  34)  of  1526,  and  the  Gothic  Pal.  Bovi  -  Silvestri  (No.  19),  now 
the  Palazzo  Tacconi. 

A  short  side-street  to  the  right,  opposite  the  Via  Farini,  leads 
to  San  Giovanni  in  Monte  (PI.  F,  5,  6),  in  the  Gothic  style,  said  to 
have  been  founded  in  433,  rebuilt  in  1221,  1286,  and  1440-42,  and 
restored  in  1824  and  1844.  It  consists  of  a  low  nave  with  aisles 
and  a  short  transept.  The  dome  is  by  Arduino  Arriyuzzi  (1517). 
Above  the  entrance  is  an  eagle  in  terracotta,  by  Niccolh  dell'  Area 
(1473). 

Intebioe  (very  dark).  The  W.  window  (St.  John  and  the  seven  golden 
candlesticks)  is  by  Cossa.  —  In  the  central  aisle,  Statue  of  Christ  made 
from  a  single  block  of  fig- wood  (15th  cent.);  behind,  a  stone  Cross  of  801 
on  an  antique  column.  —  3rd  Chapel  on  the  right,  St.  Joseph  and  the 
infant  Christ,  on  the  right,  St.  Jerome  on  the  left,  both  by  Ouercino. 
7th  Chapel,  'Madonna  enthroned  with  four  saints  and  angelic  musicians, 
an  important  work  by  Lorenzo  Costa  (1497;  best  light  early  in  the  morning). 
In  the  Choir,  'Coronation  of  the  Virgin,  with  saints,  in  an  attractive 
landscape,  by  L.  Costa  (c.  1505;  best  light  early  in  the  morning  or  after 
noon);  ^Stalls  by  Paolo  Sacca,  1517-21;  above  them,  the  busts  of  the  twelve 
apostles  in  terracotta,  by  Alfonso  Lombardi.  The  N.  transept  contained 
Raphael's  St.  Cecilia  down  to  1796  (p.  403;  the  fine  frame  by  Formigine, 
with  a  poor  copy  of  the  painting,  is  the  original).  —  2nd  Chapel  on  the 
left,  St.  Francis,  by  Guerdno. 


East  Quarters.  BOLOGNA.  56'.  Route.   399 

The  Via  Santo  Stefano  farther  on  Is  bordered  by  fine  palaces : 
No.  43  Palasio  Ranuxzi,  by  Triachini,  No.  56  Pal.  Trotli,  now 
Rossi  (V\.  57;  Q,  6). 

From  the  end  of  the  Via  S.  Stefano,  near  the  gate,  the  Via  del 
Baraccano(Pl.  G,  H,  7)  leads  to  the  right  to  the  church  of  Madonna 
del  Baraccano,  which  possesses  a  fine  portico  hy  Ag .  BarelU  (^iQll) 
and  contains  a  faded  fresco  by  Cossa,  the  Virgin  with  Giov.  Benti- 
voglio  I.  and  his  wife  Maria  Vinciguerra  (1472).  The  frame-work 
surrounding  the  niche  of  the  high-altar  is  by  Properzia  de'  Rossi. 

At  the  beginning  of  the  Via  Mazzini  (PI.  F,  G,  H,  5),  opposite 
the  Torre  Garisenda,  at  the  corner  of  the  Via  San  Vitale,  is  the 
church  of  San  Bartolomeo  di  Porta  Bavegnana  (PI.  F,  4),  erected 
in  1516-30  by  Formigine,  with  a  handsome  colonnade.  In  the  in- 
terior, remodelled  by  O.  B.  Natall  in  1655,  are  ceiling-paintings 
by  Angelo  Colonna.  At  the  4th  altar  on  the  right  is  an  Annun- 
ciation, one  of  the  best  works  of  Franc.  Albani  (1632),  and  beside 
it  are  a  Nativity  and  a  Flight  to  Egypt,  by  the  same  master ;  in  the 
5th  chapel  on  the  left  is  a  Madonna,  by  Guido  Rent. 

Farther  on  in  the  Via  Mazzini,  on  the  right,  No.  19,  is  the 
old  inner  fagade  of  the  13th  cent.  Palazzo  Isolani(Pl.  47a;  restored 
1877),  with  a  projecting  upper  story,  resting  upon  oaken  beams.  — 
Opposite,  on  the  left,  No.  24,  is  the  — 

Pal.  Sampieri  (PI.  54;  F,  5),  with  the  inscription  'Oalleria 
SampierV,  adorned  with  admirable  frescoes  from  the  myth  of  Her- 
cules by  the  Carracci  (1593)  and  Quercino.  The  other  paintings  it 
contains  are  of  little  value  (fee  1/2  fr.), 

2nd  R.  Frescoes  on  the  ceiling:  "Hercules  contending  with  Jupiter; 
right  wall,  Ceres  seeking  Proserpine,  by  Lod.  Carracci.  —  3rd  R.  On  the 
ceiling:  The  path  to  virtue  is  difficult;  right  wall.  Giant  struck  by 
lightning,  both  by  Annib.  Carracci.  —  4th  R.  Ceiling:  Hercules  and 
Atlas;  wall  on  the  right,  Hercules  and  Cacus,  by  Agost.  Carracci.  — 
5tb  R.  Ceiling -painting:  Hercules  and  Antseus,  by  Ouercino.  —  6th  R. 
Ceiling-painting :  Genius  of  strength,  by  Ouercino. 

The  adjoining  Jlouse  of  Rossini  (P\.  59;  No.  26)  was  erected  by 
the  great  composer  in  1825,  and  adorned  with  inscriptions  from 
Cicero  and  Virgil. 

The  fine  Gothic  church  of  Santa  Maria  dei  Servi  (PL  G,  5), 
built  by  Fra  Andrea  Manfredi  in  1383  et  seq.,  with  a  fore-court  and 
a  portico  borne  by  remarkably  thin  .columns  placed  very  far  apart, 
is  adorned  with  frescoes  (much  damaged)  on  the  facade,  dating  from 
the  17th  century. 

Interioe.  2nd  altar  on  the  left:  Franc.  Albani,  Christ  and  Mary 
Magdalen;  over  the  adjacent  side-portal  is  the  tomb  of  Lod.  Gozzadini 
(d.  1536),  in  stucco,  by  Oiov.  ZaccM.  6th  altar:  Innocenzo  da  Imola,  An- 
nunciation, in  an  old  frame.  —  Over  the  high-altar,  by  Montortoli  (1561), 
Christ  risen  from  the  Dead,  and  Mary  and  St.  John,  below  (1.)  Adam,  (r.) 
Moses,  at  the  back  the  portrait  of  the  donor.  —  In  the  choir-ambulatory, 
to  the  left,  are  the  tomb  of  a  cardinal,  in  the  .style  of  Jac.  delta  Qitercia, 
and  the  tomb  of  Jac.  and  Andr.  Grato  (15('4);  to  the  right,  is  a  (repainted) 
terracotta  relief,  representing  the  Madonna  and  SS.  Lawrence  and  Eustace 
with  two  angels,  by  Vincenzo  Ono/ri,  1503. 


400   Route  56.  BOLOGNA.  East  Quartern 

Santi  Vitale  ed  Agricola  (PL  23 ;  G,  4),  in  the  Via  San  Vitale, 
said  to  have  heen  consecrated  in  428  hy  St.  Petronius,  has  been  re- 
peatedly restored.  The  large  chapel  on  the  left  contains  an  altar- 
piece  (covered^  hy  Fr.  Francia,  Adjoining  is  the  ancient  crypt  (re- 
stored in  1891)  of  the  church  of  San  Vitale  in  Arena.  —  Opposite 
(No.  23)  is  the  Palazzo  Cloetta,  formerly  Fantuzzi  (PI.  40 ;  G,  4), 
built  by  Formigine  (1517-22),  with  a  superb  staircase  by  P.  Canali. 

The  northernmost  of  the  streets  radiating  from  the  leaning 
towers  is  the  Via  Zamboni  (PL  F,  G,  H,  3,  4),  to  the  right  in  which 
is  (No.  13)  the  effective  and  well-proportioned  Pal.  Malvezzi- Medici 
(PL  49 ;  F,  4),  built  by  Bart.  Triachiui  in  1560.  —  On  the  left  is 
(No.  20)  the  handsome  Pal.  Magnani-Salem  (PL  48),  by  Dom.  Tibaldi 
(1576-87),  with  admirable  frescoes  (History  of  Komulus)  by  the 
Carracci.  No.  22,  adjoining,  is  the  Pal.  Malvezzi- Campeggi  (PL  50), 
by  Formigine  (1622),  with  an  interesting  court. 

Opposite,  in  the  small  Piazza  Rossini,  which  is  named  after 
the  celebrated  composer,  who  attended  the  neighbouring  Liceo 
Rossini  (PL  26;  music-school)  in  1807-10,  is  — 

San  Giacomo  Maggiore  (PL  F,  4),  founded  in  1267,  consisting 
of  a  nave  with  barrel-vaulting,  with  a  fine  portico  erected  in  1477-81. 
The  interior,  altered  in  1493-1509,  contains  several  good  pictures. 

In  the  5th  Chapel  on  the  right:  Bart.  Fasseroiti,  Madonna  enthroned, 
with  five  saints  and  the  donor.  7th  Chapel,  Marriage  of  St.  Catharine,  by 
Jnnocenzo  da  Imola  (1536),  in  a  fine  Renaissance  frame  \>y  Formigine;  11th 
Chapel,  erected  by  Pellegrino  Tibaldi.,  and  decorated  by  him  with  frescoes. 
—  The  3rd  chapel  in  the  retro-choir  contains  a  gilded  altar  with  a  Coro- 
nation of  the  Virgin  and  numerous  saints,  by  Jacopo  di  Faolo  (1420);  to  the 
left,  on  the  wall,  a  large  painted  crucifix  by  Simone  de'  Crocejissi  (1370). 
The  6th  Cap.  Bentivoglio  (1486)  paved  with  coloured  and  glazed  tiles, 
contains  a  'Madonna,  with  angelic  musicians  and  four  saints  (1499),  the 
finest  work  of  Fr.  Francia.  In  the  lunette  above  is  a  Vision  of  St.  John 
(Rev.  XVII,  1-8)  by  Lor.  Costa.  At  the  aides  are  frescoes  by  Lorenzo  Costa, 
representing  the  Triumph  of  life  and  death,  after  Petrarch,  on  the  left,  and 
the  "Madonna  enthroned  with  the  Bentivoglio  family,  on  the  right  (1488; 
earliest  known  work  of  this  master).  The  frescoes  above  are  by  unknown 
artists.  The  equestrian  relief  of  Annibale  Bentivoglio  (d.  1445),  on  the 
right,  is  ascribed  to  NiccoU  delV  Area  (1458) ;  to  the  right,  by  the  chapel- 
entrance,  is  a  small  relief- portrait  of  Giovanni  II.  Bentivoglio  (1497), 
perhaps  by  Vine.  Onofri.  Opposite,  in  the  ambulatory,  the  'Monument  of 
Antonio  Bentivoglio  "(d.  1435)  by  Jacopo  delta  Quercia. 

The  sacristan  keeps  the  keys  of  the  adjacent  oratory  of  Santa 
Cecilia  (PL  4;  F,  4),  an  oblong  edifice  erected  about  1504-6  for 
Giovanni  II.  Bentivoglio.  The  fine  frescoes  (restored  in  1874)  are 
by  Lor.  Costa,  Franc.  Francia,  and  their  pupils. 

To  the  left:  '1.  Franc.  Francia,  Marriage  of  St.  Cecilia  with  the 
pagan  nobleman  Valerian;  2.  Lor.  Costa,  St.  Urbanus  converting  Valerian; 
3.  Ces.  Tamarocci,  Baptism  of  Valerian;  4.  O.  M.  Chiodarolo,  Angel  crown- 
ing SS.  Cecilia  and  Valerian  ;  5.  Amico  Aspertini,  Martyrdom  of  SS.  Valerian 
and  Tiburtius.  —  To  the  right :  i.  Am..  Aspertini,  Burial  of  SS.  Valerian 
and  Tiburtius,  with  the  Castle  of  Sant'  Angelo  in  the  background  (much 
injured);  2.  Chiodarolo,  Vindication  of  St.  Cecilia  before  the  Roman  pre- 
fect ;  3.  Tamarocci,  Martyrdom  of  St.  Cecilia  in  the  oil-cask ;  "4.  Costu, 
St.  Cecilia  bestowing  alms;  5.  Fr.  Francia,  Burial  of  St.  Cecilia. 


East  Quarters.  BOLOGNA.  56,  Route.    401 

Opposite,  on  the  right  side  of  the  street,  is  the  — 
Old  University  (PI.  G,  3,  4;  comp.  p.  388),  the  old  Palazzo  Poggi^ 
which  was  built  hy  Pellegrino  Tibaldi  and  has  a  court  hy  Bart.  Tria- 
chini.  This  palace  has  been  occupied  by  the  university  from  1803, 
but  since  1905  it  has  accommodated  only  the  Library,  and  in  tlie 
tower  (17-6;  view)  the  Observatory.  The  five  faculties,  attended  hy 
about  1500  students,  and  tho  scientific  collections  of  the  University 
now  oci'upy  new  buildings  (comp.  p.  404). 

The  extensive  University  Library  (adni.,  see  p.  388)  coDtains  about 
200.C00  vols,  and  50OO  M^S.  Among  the  MSvS.  are  the  oldest  codex  of 
Lactantius,  a  Dante  MS.  of  the  14th  cent.,  letters  from  Voltaire  to  Fre- 
derick the  Great,  etc.  The  celebrated  linguist  Giuseppe  MezzofaiiU  (born 
at  Bologna  in  1T76,  died  at  Naples  in  1849),  was  once  librarian  here.  At 
the  age  of  36  he  is  said  to  have  spoken  18  languages  fluently,  and  at  the 
time  of  his  death  no  fewer  than  42. 

We  next  proceed  to  the  old  Jesuits'  College,  at  Via  Belle  Arti 
No.  54,  containing  the  — 

Accademia  di  Belle  Arti  (PL  G,  3).  On  the  groundfloor  are 
casts  and  works  of  modern  art.  On  the  first  floor  (r.)  is  the  valuable 
*PiCTUEB  Gallkby,  Or  Reale  Pinacoteca.  Adm.,  see  p.  388  (ticket- 
office  on  the  first  floor).  Catalogue  (1900),  1  fr.  Director,  Prof. 
A.  Guadagnini. 

The  visitor  imbued  with  the  modern  taste  for  the  period  of  the  Re- 
naissance will  find  little  attraction  in  the  works  of  the  Sevknteenth  Cen- 
TUat,  which  form  the  chief  boast  of  this  g^illery.  Although  it  would  be 
unfair  to  depreciate  the  undoubted  talent  and  skill  of  these  late  ma.sters, 
their  works  ;ire  unsiitiMl'actory  owing  to  the  absence  of  any  definite  aim  or 
indication  of  progress,  and  from  the  obvious  pains  which  have  been  taken 
to  reproduce  trite  themes  in  an  interesting  manner.  In  the  department 
of  fresco-painting  the  works  of  these  Bolognese  eclectics  (see  p.  390)  are 
most  numerous  at  Rome  ,  but  they  are  admirably  represented  here  by  a 
series  of  oil-paintings.  We  may  first  mention  several  works  by  Gtddo 
Rent,  the  most  talented  master  of  this  school:  No.  134,  Madonna  della 
Pieta,  remarkable  for  its  masterly  grouping,  which  again  occurs  in  N".  136, 
the  Crucifixion,  and  places  these  two  pictures  on  a  level  with  the 
finest  works  of  the  16th  cent,  in  point  of  composition;  No.  135,  the 
Massacre  of  the  Innocents,  exceptionally  harmonious  and  dignified  in 
character;  No.  139,  Sanf  Andrea  Corsini,  an  excellent  specimen  of  Guido's 
powers  as  a  colourist-,  No.  142,  a  masterly  drawing  in  chalks  for  the  Ecce 
Homo  which  was  so  popular  in  the  Hth  century.  The  most  interesting 
work  of  L'idovico  Carracci  is  probably  No.  45,  the  Nativity  of  the  Bajitist. 
Annibale  C'^irraccfs  Mudonna  and  saints  (No.  36)  has  the  merit  of  stately 
architectural  arrangement.  The  Communion  of  St.  Jerome  (No.  34)  by 
Agostino  Carracci  is  very  inferior  to  Domenichino's  treatment  of  the  sanre 
subject  in  the  Vatican.  Domenichino^s  scenes  of  martyrdom  are  far  from 
pleasing,  but  auercino''s  Madimna  with  the  two  Carthusian  monks  (No.  13) 
is  a  devotional  picture  of  pnifound  sentiment.  —  The  gallery  also  possesses 
several  valuable  works  of  the  Kakliee  Pbkiod  of  Itilian  art.  Thus  Nn.  78, 
a  Madonna  enthroned  by  Fr.  Francia ,  bears  important  witness  to  Fran- 
cia's  artistic  relation  with  Lorenzo  Costa.  The  two  early  masters  of  Raphael 
are  not  unfavourably  represented  ;  Timoteo  ViH  by  a  Mary  Magdalen  (No.  204; 
a  late  work)  and  Pietro  Pervgino  by  a  Madonna  in  clouds  (No.  197).  — 
The  gem  of  the  gallery,  however,  is  R.'VI'uael's  St.  Cecilia  (No.  152),  the 
indelible  impression  produced  by  which  is  doubtless  due' to  the  master's 
unrivalled  genius  in  exalting  his  figures  into  the  regions  of  the  superna- 
tural, and  yet  making  them  human  and  jileasing.  Everything  has  been 
maturely  considered,  the  broken  instruments,  the  angels'  song,  the  distri- 

Baedeker.  Italy  I.     13th  Edit.  26 


402    Route  56. 


BOLOGNA. 


East  Quarters . 


bution  and  graduation  of  the  characters,  —  and  yet  the  picture  appeara 
as  simple  and  natural  as  if  it  could  nut  possibly  have  been  arranged 
otherwise. 

We  turn  to  the  right  from  the  ticket-office  and  traverse  Coe- 
RiDOE  I,  which  contains  paintings  by  Bolognese  masters  of  the 
second  half  of  the  17th  and  of  the  18th  cent,  (the  three  rooms  on 
the  right,  see  p.  404).  Straight  in  front  of  us,  at  the  end  of  the 
corridor,  is  — 

Room  A  (Sala  di  Ouido),  containing  prominent  works  of  Quido 
Reni  (p.  390).  To  the  right  of  the  entrance,  *137.  Samson,  victorious 
over  the  Philistines,  drinking  out  of  the  jaw-bone  of  an  ass;  138. 
Madonna  del  Rosario,   painted  on  silk  in  1630  (as  a  procession- 

E        ■         D         i         C  i         B  H"^ 

jiTranciii)  (■RalTacllo)     (Tiarini)         (Caracci) 


V"(  ui  ridoi 


flag);  140.  St.  Sebastian;  **134.  Madonna  della  Pietk,  below  are 
SS.  Petronius,  Carlo  Borromeo,  Dominic,  Francis,  and  Proculus 
(painted  in  1616  for  the  Town  Council,  who  presented  the  painter 
with  a  valuable  gold  chain  and  medal,  in  addition  to  his  remuner- 
ation); 139.  Sant'  Andrea  Corsini;  *136.  Crucifixion,  with  the  Ma- 
donna, Mary  Magdalen,  and  St.  John;  *135.  Massacre  of  the  In- 
nocents. —  In  this  room  also  are  :  Franc.  Albani,  2.  Baptism,  3. 
Madonna  del  Rosario;  566.  Carlo  Cignani,  Madonna  with  saints. 
By  the  approach  to  the  next  room :  142.  Gtiido  Reni,  Chalk  drawing 
for  the  'Ecce  Homo' ;  30.  Simone  Cantarini,  Portrait  of  Guide  Reni. 
On  a  stand  in  the  midde  of  the  room :  360.  Niccolb  da  Foligno, 
Adoration  of  the  Child,  with  the  Annunciation  on  the  back. 

Room  B  (Sala  dei  Carracci).    To  the  right:  12.  Guercino,  St. 


Academy.  BOLOGNA.  56.  Route.   403 

William  of  Aquitaine  receiving  the  robe  of  the  order  from  St.  Felix ; 
43.  Lod.  Cnrracci,  Traiisflguration;  206.  Domenichino,  Martyrdom 
of  St.  Agnes ;  36.  Ann.  Carracci,  Madonna  on  clouds,  with  SS. 
Louis,  Alexis,  John  the  Bapcist,  Francis,  Clara,  and  Catharine ; 
35.  Ag.  Carracci,  Assumption;  47.  Lod.  Carracci,  Conversion  of 
Paul;  13.  Ouercino,  St.  Bruno  and  another  Carthusian  worshipping 
the  Virgin  in  the  desert ;  55.  Oiac.  Cavedone,  Madonna  on  clouds, 
with  saints;  Lod.  Carracci,  48.  Madonna  with  SS.  Jerome  and 
Francis,  45.  Birth  of  the  Baptist;  34.  Ag.  Carracci,  Communion 
of  St.  Jerome;  Domenichino,  207.  Madonna  of  the  Rosary,  208. 
Death  of  St.  Peter  Martyr. 

Room  C  (Sala  del  Tiarini)  contains  works  hy  the  Procaccini 
(p.  133),  and  by  Pellegrino  Tibaldi,  Al.  Tiarini  (182.  Descent  from 
the  Cross),  and  other  Bolognese  contemporaries  of  the  Carracci. 

Room  D  (Sala  di  Raffaello).  To  the  right:  210.  Studio-copy  of 
i?ap/iaci's  Youthful  St.  John  (p.  492);  116.  Parmigianino,  Madonna, 
with  SS.  Margaret,  Jerome,  and  Augustine. 

**152.  Raphael,  St.  Cecilia  surrounded  by  four  other  saints, 
ordered  in  1513  by  Cardinal  Lorenzo  Pucci  for  the  church  of  San 
Giovanni  in  Monte  (p.  393),  but  probably  not  painted  before  1515. 
It  was  at  Paris  from  1796  to  1815,  where  it  was  transferred  from 
panel  to  canvas,  being  much  'restored'  in  the  process. 

'The  youthful  and  beautiful  patron  saint  of  music  has  just  ceased 
playing  the  organ  to  her  friends,  and  a  heavenly  echo  falls  upon  their 
ears.  Six  angels,  resting  on  the  edge  of  a  cloud,  have  caught  up  the  melody 
and  continue  it  in  song.  Kaphael's  painting  depicts  the  impression 
produced  by  the  celestial  music.  The  saints  on  earth  are  silent  in  pre- 
sence of  the  heavenly  choir.  St.  Cecilia  lets  her  hands  rest  mechanically 
upon  the  organ,  bat,  v^ith  head  and  eyes  turned  upwards,  listens  entranced 
to  the  song.  St.  Paul,  to  her  left,  is  differently  affected.  Sunk  in  deep 
meditation,  he  also  seems  completely  oblivious  of  the  actual  world.  In 
pleasing  contrast  to  these  two  figures,  Mary  Magdalen,  who  stands  on  the 
right  of  St.  Cecilia  and  holds  a  box  of  ointment  in  her  hand,  shows  her 
delight  simply  and  openly.  ...  In  the  second  line  stand  SS.  John  the 
Evangelist  and  Augustine  (or  Petronius?).  ...  A  crowning  touch  is  added 
to  the  careful  distribution  of  the  figures  and  well-balanced  discrimination 
of  expression  by  the  harmonious  arrangement  of  the  colours.  The  strongest 
and  most  intense  tone  is  afforded  by  the  yellow  tunic  of  St.  Cecilia, 
embroidered  with  gold;  in  the  St.  Paul  the  predominant  tint  is  the  red 
of  his  mantle,  relieved  by  the  green  nnder-garment;  the  Magdalen's  dress 
is  of  a  violet  colour.  The  toning  down  and  blending  of  the  ground-tinta 
is  effected  through  the  two  saints  in  the  background,  who  thus  fulfill  the 
same  function  in  regard  to  the  colouring  that  they  do  with  respect  to  the  ex- 
pression and  composition'.  —  Pro/.  A.  Springer''s^Raffael  und  Michelangelo', 

89.  Innoc.  da  Imola,  St.  Michael;  198.  Giorgio  Vasari,  Banquet 
of  Gregory  I.  (_1540);  *197.  Pietro  Perugino ,  Madonna  in  glory, 
with  SS.  Michael,  John,  Catharine,  and  ApoUonia;  61.  Cima  da 
Conegliano,  Madonna  (in  an  old  frame). 

Room  E  (Sala  del  Francia),  with  important  works  by  Francesco 
Francia  (p.  389)  :  371.  Annunciation,  with  SS.  John  the  Evangelist, 
Francis,  George,  and  Bernard  (1500);  499.  Madonna  and  St.  Fran- 
cis of  Assisi;  83.  Christ  mourned  over  by  angels;  586.  Two  niello 

26* 


404   Route  56.  BOLOGNA.  Academy. 

■works  in  silver  by  Francia,  specimens  of  the  Pax  used  in  the  cele- 
hration  of  the  mass;  82.  Adoration  of  the  Shepherds,  Holy  Family, 
and  Crucifixion,  in  a  fine  landscape  ;  370.  Madonna  enthroned,  with 
SS.  Paul  and  Francis  (a  late  work);  80.  Madonna  enthroned,  with 
SS.  Augustine,  John  the  Baptist,  George,  and  Stephen;  79.  An- 
nunciation, with  SS.  John  the  Baptist  and  Jerome ;  81.  Adoration 
of  the  Child  (1499);  *78.  Madonna  enthroned,  with  six  saints,  an 
angelic  musician,  and  the  donor  (1494;  early  work);  372.  Cruci- 
fixion with  several  saints  (by  the  entrance).  Also  in  this  room  are : 
84.  Giac.  Francia,  Iloly  Family,  with  four  saints;  no  number, 
Marco  Zoppo,  St.  Jerome;  204.  Timoteo  Viti,  Mary  Magdalen  (1508); 
297.  Amico  Aspertini,  Adoration  of  the  Child  (ca.  1495;  early 
work);  Lor.  Costa,  65.  St.  Petronius  supported  by  SS.  Francis  of 
Assisi  and  Thomas  Aquinas  (1502),  376.  Marriage  of  the  Virgin; 
64.  Franc.  Cossa,  Madonna  with  St.  Petronius,  St.  John,  and  the 
donor,  chief  work  of  this  rare  old-Ferrarese  master  (1474).  —  We 
now  proceed  to  the  left  to  — 

Corridor  V,  containing  chiefly  old  paintings.  Opposite  the 
passage:  102.  Giotto,  Madonna,  with  SS.  Peter  and  Paul  and  the 
archangels  Michael  and  Gabriel,  an  altar-piece  in  three  sections 
from  the  church  degli  Angioli.  On  the  end-wall :  205.  Ant.  and 
Bart.  Vivarini,  Madonna  enthroned,  with  saints,  in  a  rich  Gothic 
frame  (1450).  —  We  descend  a  few  steps  and  enter  — 

Corridor  II.  To  the  left:  53.  Lad.  Carracci,  St.  Rochus;  14. 
Guercino,  St.  Peter  Martyr. 

Corridor  III:  651.  Caravaggio,  Daughter  of  Herodias;  676. 
Luca  Giordano,  Pietk. 

Corridor  IV :  275.  Ant.  Raphael  Mengs ,  Portrait  of  Cle- 
ment Xin.  —  Parallel  with  this  corridor  is  — 

Corridor  VI,  containing  a  rich  collection  of  engravings  and 
wood-cuts. 

Of  the  three  Rooms  adjoining  Corridor  I,  the  first  contains  a  numher 
of  small  pictures  by  old  masters.  On  the  entrance-wall:  5G2.  Bart.  Pas- 
saroiti.  Madonna  and  saints;  563.  Oarofalo,  Holy  Family,  564.  Ortolano  {1), 
Madonna  with  angelic  musicians.  —  The  two  other  rooms  contain  modern 
pictures. 

The  Geological  Museum  (PI.  G,  H,  3),  Via  Zamboni  66,  contains 
interesting  fossils  from  the  neighbourhood  of  Bologna,  a  collection 
of  prehistoric  anthropological  curiosities,  etc.  —  Of  the  new  uni- 
versity-buildings the  Mineralogical  Institute,  with  a  museum,  is 
situated  at  the  end  of  the  Via  Zamboni,  to  the  left,  the  Anatomical 
and  the  Physical  Institute  in  the  Via  Irnerio,  which  here  diverges 
to  the  W. 

Traversing  the  Via  Belle  Arti  (p.  401),  we  next  reach  the  im- 
posing Pal.  Bentivoglio  (PI.  36;  F~  3),  erected  in  1620  (?).  —  A 
little  to  the  S.W.,  in  the  Piazza  San  Martino,  is  the  Carmelite 
church  of  San  Martino  (Pl.  E,  F,  3),  in  the  Gothic  style  (1313).  The 
fa(;ade  of  1491-1500  was  reconstructed  in  1879  by  Gius.  Modenesi. 


North  Quarters.  BOLOGNA.  5G.  Route.   405 

Ist  Chapel  on  the  left:  "Enthroned  Uadonna,  with  SS.  Rochus,  Bernard- 
ine,  Anthony,  and  Sebastian,  by  Fr.  Francia;  above,  a  Pieta,  below,  Christ 
hearing  the  Cross.  The  window  above  represents  St.  James  of  Compo- 
stella,  after  a  cartoon  by  Fr.  Francia.  Last  altar  to  (he  left,  an  Assump- 
tion and  a  Resurrection  in  the  lunette,  by  Lor.  Costa{1)\  5th  altar  on  the 
right,  Amico  Afpertini,  Madonna  with  SS.  Lucy  and  Nicholas.  Adjoining 
the  sacristy-door  is  the  tomb  of  the  scholar  Beroaldus,  with  his  bust,  by 
Vincemo  Onofri  (1504). 

On  the  N.  side  of  the  town,  inside  the  walls  and  on  the  former 
site  of  the  Castello  di  Galliera,  rises  the  slight  eminence  of  La 
Montagnola  (PI.  E,  F,  1,  2),  a  promenade  adorned  with  some 
bronzts  by  Diego  Sarti.  The  Arena  del  Pallone  (p.  387)  is  situated 
here.  To  the  W.  is  the  Scalea  della  Montaynola,  a  handsome  flight 
of  steps,  built  in  1893-96  by  Tito  Azzolini,  descending  to  the  Via 
deir  ludipendenza  (p.  39C)  and  to  the  Porta  OalUera  (PI.  E,  1).  — 
On  the  S.  is  the  Piazza  dell'  Otto  Agosto,  where  the  Austrians  were 
attacked  in  1848  by  the  Bolognese  and  compelled  to  evacuate  the 
town.  A  few  paces  to  the  S.W.,  in  the  Via  dell'  Indipendenza,  is 
an  equestrian  statue  of  Garibaldi,  by  Ces.  Zocchi  (I9OO3. 


Between  the  Porta  Santo  Stefano  and  the  Porta  Castiglione 
(tramways  see  p.  387)  is  the  beautiful  public  park  of  the  Giardini 
Maigherita  (PI.  II,  G,  7),  extending  to  the  foot  of  the  hills  and 
now  the  favourite  promenade  of  the  Bolognese.  The  park  contains 
a  pond  (  rowing-boats).  On  the  E.  side  is  a  music  pavilion  (concerts, 
see  p.  387). 

Immediately  to  the  left,  outside  the  Porta  Castiglione,  is  Santa 
Maria  della  Misericordia  (PI.  F,  7 ;  rebuilt  after  1473),  the  church 
of  the  brotherhood  mentioned  on  p.  477. 

Intekior  (when  closed  ring  at  the  door  to  the  right).  2nd  chapel  on 
the  right,  stained  glass  designed  by  Francia,  JIadonna  and  the  Saviour; 
last  chapel  on  the  right,  window,  John  the  Baptist,  by  the  same.  Above 
the  high-altar  a  figure  of  Christ,  and  at  the  sides  Madonna  and  Angel  of 
the  Annunciation,  by  Lor.  Cosla  (1499).  At  the  3rd  altar  on  the  left,  O.  M. 
Crespi,  St.  Nepomuk;  2nd  altar  to  the  left,  Bagnacavallo ,  Madonna  in 
clouds,  two  saints  below  (the  master's  best  work). 

The  Strada  Castiglione  (PI.  F,  7),  or  the  Via  Panoramica  di  San 
Michelo,  which  leads  to  the  left  from  the  tramway-terminus  out- 
side the  Porta  d'Azeglio  (PI.  D,  7),  ascends  in  10  min.  toSanMichele 
in  Bosco  (440  it. ;  comp.  Map,  p.  406),  an  Olivetan  monastery  dating 
from  1437  (suppressed  in  1797),  now  an  Orthopaedic  Institute.  From 
the  front  of  the  church  fine  view  of  Bologna  and  the  plain.  To  visit 
the  interior,  apply  to  the  'Dimostratore',  to  the  right  of  the  church 
(fee  1/2  fr.).  The  church,  rebuilt  after  1514,  has  a  fine  portal  by 
Bald.  Peruzzi  (1523);  the  aisleless  interior  contains  remains  of 
frescoes  by  Bagnacavallo  and  others.  The  cloisters  are  adorned  with 
frescoes  by  the  Carracci  and  their  pupils,  from  the  history  of  SS. 
Benedict,  Cecilia,  and  Valerian,  unfortunately  much  injured.  —  At 
the  crossing  of  tlie  roads  near  S.  Michelc  lies  the  Villa  Revedin, 


406   Route  56.  BOLOGNA. 

■which  is  shown  in  the  absence  of  the  proprietor ;  its  grounds  com- 
mand charming  views. 

A  few  paces  from  the  tramway-station  (p.  405)  near  the  former 
Porta  d'Azeglio  the  steep  Via  del  Monte  (PI.  C,  B,  7)  ascends  to 
the  (V4  hr.)  Villa  Mezzaratta  (690  ft. ;  line  views;  adm.  free).  Close 
by  is  the  little  church  of  Sant'  Apollonia^  containing  Bolognese 
frescoes  of  the  14th  cent,  (closed). 

About  1^4  M.  outside  the  former  Porta  Sant'  Isaia  (PI.  A,  4), 
to  the  W.  of  the  town  ,  on  the  electric  tramway-line  (p.  387)  to 
Meloncello  (see  below),  is  situated  the  Certosa  (formerly  a  Car- 
thusian monastery),  erected  in  1333,  and  consecrated  in  1801  as  a 
Campo  Santo.  It  occupies  the  site  of  an  old  Etruscan  burial- 
ground,  discovered  here  in  1869,  since  which  date  the  cemetery 
has  been  enlarged  by  the  addition  of  new  cloisters  and  magnificent 
colonnades.  Open  daily  8-6  (in  winter  9-4).  The  entrance  is  on 
the  E.  side,  3  min.  from  the  tramway-station;  guide  desirable; 
1/2-I  fr.  to  the  custodian  (dimostratore). 

The  church  contains  a  few  paintings  by  Elisahetta  Sirani  and  Bari.  Cesi, 
and  wood-carving  of  1539  and  1611.  —  At  the  beginning  of  the  Cloisters 
are  ancient  tombstones  from  suppressed  charches,  arranged  according  to 
centuries.  Then,  modern  monuments,  including  many  illustrious  names 
such  as  those  of  the  philologist  Oaspar  Garatoni  (d.  1817)  and  Clotilda  Tam- 
hroni  (d.  1817;  p.  389j.  The  principal  families  of  the  town  also  possess 
vaults  here;  thus  the  monument  oi  Lelizia  Murat  Pepoli  (1802-59),  with  a 
statue  of  her  father  Joachim  Murat ,  King  of  Kaples  ('propugnatore  dell' 
italica  indipendenza"),  executed  by  Vine.  Vela.  A  rotunda  here  contains 
the  busts  of  celebrated  professors:  Mezzofanti.,  Oalvani,  Costa.,  Mallei 
(teacher  of  Rossini),  etc.  —  The  Forno  Crematorio  is  interesting. 

On  the  Monte  delta  Ouardia,  an  eminence  3M.  to  the  S.W.  of 
the  Porta  Saragozza  (PI.  A,  6) ,  rises  the  handsome  pilgrimage 
church  of  the  Madonna  di  San  Luca  (950  ft. ),  erected  by  Dotti  in  1723 
et  seq. ,  and  so  called  from  an  ancient  picture  of  the  Virgin,  ascribed 
to  St.  Luke  and  brought  from  Constantinople  in  1160.  The  hill  is 
ascended  in  about  3/4  hr.  by  a  series  of  Arcades,  consisting  of 
066  arches  with  numerous  chapels,  constructed  in  1674-1739,  and 
2  M.  in  length.  They  begin  a  short  way  beyond  the  gate  and 
send  a  branch  to  the  Campo  Santo  (see  above).  Electric  tramway 
(p.  387)  from  the  Piazza  Vitt.  Emanuele  or  steam-tramway  (p.  387) 
from  the  Piazza  Malpighi  to  Meloncello  at  the  foot  of  the  hill. 
Thence  the  steps  may  be  avoided  by  following  the  road  along  the 
arcades.  A  better  road  ascends  to  the  left  into  the  valley  of  the 
Rio  Ravone,  1/2  M-  outside  the  Porta  Saragozza,  making  a  wide 
curve  past  Monte  Albano.  The  *View,  particularly  from  the  S. 
ascent  to  the  portal  of  the  church  and  from  the  dome,  now  used  as 
an  observatory  (staircase  from  the  roof  of  the  church;  adm.  30c.), 
is  remarkably  fine  and  extends  from  the  Apennines  to  the  Adriatic. 
The  precincts  of  the  church  and  the  adjacent  intrenchments,  now 
used  for  military  purposes,  are  not  accessible. 


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W 


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MONTEPIANO.  57.  Route.  407 

The  Highroad  from  Bologna  to  Floeknoe  (631/2  M.),  constructed  in 
1762,  leaving  the  former  city  by  the  Porta  Santo  Stefano  {PI.  H,  7),  leads 
through  the  valley  of  the  Savena  to  (9V2  M.)  Piaiioro,  and  thence  ascends  via, 
(ISV2  M.)  Loiano  (2360  ft.)  and  (231/2  M.)  Monghidovo  (2705  ft.)  to  the  (28  M.) 
Passo  dtlla  Ralicosa  (3175  ft).  It  then  leads  through  the  upper  valley  of 
the  Siiiitenio  to  (281/2  M.)  Pieiramala  (a  little  to  the  E.  of  vi'hich  are  the 
subterranean  fires  known  as  the  Fuochi  di Pieiramala)  and  along  theE.  slopes 
of  the  Monte  Bent  (4124  ft.)  to  (32'/2  M.)  Corigliaio  (2860  ft. ;  Alb.  Covigliaio, 
pens.,  incl.  wine,  8-10  fr.  ,  open  mid-June  to  mid-Sept.),  a  summer-resort 
of  the  Florentines,  at  the  base  of  the  Sasso  di  Castro  (4190  ft.).  Thence 
we  cross  the  (861/2  M.)  Passo  della  t'uta  (206O  ft.)  and  enter  the  valley  of 
the  Sieve,  in  which,  beyond  Barherino  di  Mvgello,  a  side-road  diverges  for 
San  Piero  a  Sieve  (p.  i21).  The  main  road  follows  a  hilly  course  via  (56  M.) 
Vaglia  (p.  421)  and  Pratolino  (p.  557)  to  (681/2  M.)  Florence  (p.  457). 

A  Branch-Line  (371/2  M.  in  21/2  3  hrs.)  runs  to  the  N.W.  from  Bologna 
to  Poggio  Rtisco  (p.  264),  via  (261/2  M.)  San  Felice  sul  Panaro  (p.  376). 


57.  From  Bologna  to  Florence  via  Pistoia. 

821/2  M.  Railway  in  31/4-6  hrs.  (fares  15  fr.  45,  10  fr.  80,  6  fr.  95  c. ;  ex- 
press 17  fr.,  11  fr.  90  c).  A  dining-car  is  attached  to  the  'lightning  express". 
—  A  boldly-constructed  line,  with  (ine  views  of  the  valleys  and  ravines 
of  the  Apennines  (generally  to  the  left),  and  afterwards  of  the  rich  plains 
of  Tuscany. 

Bologna^  see  p.  386.  —  Tlie  train  crosses  the  Reno  and  follows  the 
left  hank,  skirting  the  slope  of  the  Monte  delta  Guardia  (p.  40G ). 
On  an  island  in  the  Reno,  not  far  from  Bologna,  the  Second  Trium- 
virate was  concerted  hy  Octavian,   Antony,  and  Lepidus,  B.C.  43. 

3  M.  Borgo  Panigale.  Near  (6M.)  Casalecchio  di  Reno  the  army 
of  Giovanni  I.  Bentivoglio  was  defeated  hy  Gian  Galeazzo  Visconti 
in  1402,  and  in  1511  that  of  Pope  Julius  II.  under  the  Duke  of 
Urbino,  by  the  French.    Steam-tramway,  see  p.  387. 

The  valley  of  the  Reno  contracts.  —  12  M.  Sasso  (425  ft.). 

A  picturesque  Highroad  leads  from  Sasso  over  the  Apennines  to  (49  M.) 
Prato.  The  road  at  first  ascends  to  the  S.  in  the  valley  of  the  brook 
Setta,  from  which  a  subterranean  aqueduct,  constructed  by  Augustus  and 
restored  in  1S81,  leads  to  Bologna.  The  chief  places  on  the  road  are  (7  M.) 
Vado  (490  ft.),  Lagaro  (I71/2  M.;  1310  ft),  and  (25  M.)  Castiglione  dei  Pepoli 
(2265  ft.;  diligence  twice  daily  to  Prato  in  b^/i5'/-i  hrs),  where  we  quit 
the  valley  and  begin  to  ascend  to  the  (26V2  M.)  Serra  (2625  ft.),  the  crest 
of  the  ridge. 

On  the  i'^.  side,  on  the  ridge  of  the  Montepiano,  lies  the  village  of 
(30'/2  M.)  Montopiano  (2235  ft. ;  'Alb. -Pens.  Gemmi,  pens.  incl.  wine  5-7  fr. ; 
Pens,  de  Londres),  a  favourite  summer- resort  in  a  finely  wooded  neigh- 
bourhood. The  road  now  descends  in  many  windings  into  the  valley  of  the 
Fiumentii,  and  reaches  San  Quirico  di  Vernio  (885  ft.;  Alb.  della  Posta), 
usually  known  as   Vernio,  in  a  picturesque  situation. 

Below  Vernio  begins  the  picturesque  and  industrious  Val  di  Bisentio 
in  which  the  road  passes  (861/2  BI.)  ifercaiale  (810  ft.-,  rustic  inn),  Vaiano 
(43  M.  ;  540  ft.),  Briglia,  Santa  Lucia  (where  we  tr.averse  a  gorge  known 
as  II  Cavalciotto),  and  Coiaiio  (250  ft.).  —  49  M.  Prato,  gee  p.  455. 

17  M.  Marzabotto,  vdth  the  Villa  Aria  (important  art- collections) 
and  the  remains  of  an  Etruscan  town  and  necropolis.  Between  this 
point  and  Pracchia  there  are  22  tunnels.  —  At  (24  M.)  Vergato  the 
valley  expands.  29  M.  Riola;  on  the  left  rise  the  steep  rocky  peaks 
of  Mte.  Ovolo  and  Mte.  Vigese  (3580  ft.l;  a  landslip  from  the  latter 


Route  57.  PORRETTA. 

destroyed  the  village  of  Vigo  in  1851.  On  the  right  bank  of  the 
Reno  is  the  prettily  situated  castle  of  Savignano, 

36 1/2  M.  Bagni  della  Porretta  (1155  ft.;  Gr.  Hot.  Porretta,  of 
the  first  class,  Hot.  Palazzina,  R.  2-4  fr.,  well  spoken  of,  both  open 
in  summar  only;  Alb.  di  Roma,  with  good  restaurant,  R.  2-4  fr. ; 
Pens.  Brunetli),  a  village  with  frequented  sulphureous  springs  and 
baths  [Stiihilimenti  Bovi,  Puzzola,  and  Porretta  Vecchia).  Attractive 
walks  to  the  (74  lir.)  Madonna  del  Ponte  and  to  (4  hrs.)  Pracchia. 

Beyond  Porretta  the  line  enters  a  narrow  and  romantic  ravine  of 
the  Reno,  from  the  sides  of  which  numerous  waterfalls  are  precip- 
itated, particularly  in  spring. 

46  M.  Pracchia  (2020  ft. ;  Locanda  UAppennino;  Alb.  Orticaia, 
R.  3  fr.,  well  spoken  of),  the  highest  point  on  the  line. 

Pracchia  is  the  startinj-point  for  the  ascent  of  the  Corno  alle  Scale 
(63S0  ft.).  We  drive  to  (I'/z  hr.)  Gavinana  (Alb.  Ferruccin)  and  thence, 
starting  early  in  the  morning,  ascend  via  Ciocicchio  and  Maceglia  to  the 
(3V2-4  hrs.)  summit.  We  return  to  Maceglia  via  the  Ri/vgio  Ditca  degli 
Abruzzi  and  the  little  Lago  Scaffaioto  {bibb  ft.). 

A  post-omnibus  runs  twice  daily  from  Pracchia  to  (13  M.)  Cutigliano 
(2225  ft.;  Alb.  Capello  d'Orlando,  clean;  Pension  Pendini,  7-9  fr. ;  Pens. 
Tandelli ;  Pens.  Orsi),  a  convenient  centre  for  excursions,  via  (1^/4  M.)  Pon- 
tepelri,  where  it  reaches  the  old  Apennine  road  connecting  Florence  and 
Modena  (p.  372),  and  (71/2  M  )  San  Marcello  Pistoiese  (2045  ft.;  Alb.  della 
Posta,  well  spoken  of;  Engl.  Ch.  serv.).  The  road  then  continues  to  ascend 
to  ('20'/2  W.)  Boscolungo  (Hotel  Bellini,  very  fair;  Alb.  Cimone,  plain  but 
good;  Alb.  Orsatti),  and  to  the  Passo  delV  Abeione  (4555  ft.),  where  the  'Oran 
Albergo  delV  Abelune  (R.  372,  dej.  21/2,  D.  41/2,  pens.  12  fr. ;  open  in  summer 
only)  lies  in  the  midst  of  a  fine  forest.  This  is  the  starting-point  for  the 
ascent  of  Monte  Cimone  (7103  ft. ;  4-5  hrs. ;  guide,  Beppino  Ferrari,  etc.),  the 
highest  summit  of  the  Northern  Apennines,  commanding  tine  views.  It 
is  also  a  starting-point  for  numerous  shorter  excursions  (Monte  Maiori, 
V4  hr.  ;  Libro  Aperto,  172-2  hrs. ;  Tre  Potenze,  2  hrs. ;  Monte  Rondinoio,  Lago 
Santo,  etc.).  —  From  Abetone  via  Fiumalbo  to  (772  M-)  Pievepelago  (^oitua)., 
see  p.  376. 

Boscolungo  is  about  572  hrs.'  drive  from  Pracchia,  and  7  hrs.  from 
Pisloia  (via  Pontepetri,  fee  above).  A  road  also  leads  to  it  from  the  Bagni  di 
Lucca  (comp.  p.  449). 

Beyond  Pracchia  the  train  crosses  the  watershed  of  the  Adriatic 
and  the  Tyrrhenian  Sea  by  a  tunnel  about  1^3  M.  in  length,  and 
then  enters  the  valley  of  the  Omhrone  (p.  440),  which  is  traversed 
by  a  lofty  viaduct.  Between  this  point  and  Pistoia  there  are  viaducts 
and  tunnels  in  constant  succession.  Beautiful  *Views.  —  Beyond 
(50'/2  M.)  Corbezzi  a  view  is  at  length  revealed  of  the  lovely  and 
populous  plains  of  Tuscany,  and  of  Pistoia  far  below. 

61 1/2  M.  Pistoia  (p.  450).  — From  Pistoia  to  Florence,  see  p.  464. 

58.  From  Bologna  to  Eavenna. 

52  M.  Railway  in  274-3  hrs.  (fares  9  fr.  75,  6  fr.  85,  4  fr.  40  c;  return- 
ticket,  14  fr.  2 ',  9  fr.  95  c).  The  train  follows  the  main  line  to  Faenza, 
Ancona,  and  Brindisi  as  far  as  Castel  Boloynese,  whence  Eavenna  is  reached 
by  a  branch-line  (change  of  carriages  usually  necessary). 

The  train  follows  the  direction  of  the  Via  .Emilia  (p.  356). 
—  7  M.  Mirandola  -  Ozzano .  —  15  M.   Castel  San  Pietro  d'Emilia 


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RAVENNA.  58.  Route.   409 

CJBO  ft.),  with  a  chateau  built  by  the  Bologuesc  in  the  13th  cent., 
on  the  Sillaro. 

211/2  M.  Imola  (^140  ft.;  Alb.  d''Italia;  Cafe  Orande),  on  the 
Santerno,  an  ancient  town  with  12,100  inhab.  and  the  seat  of  a 
bishop  since  422,  was  the  Roman  Forum  Cornelii,  named  after  its 
founder  L.  Cornelius  Sulla,  but  it  is  me-ntioned  as  Jmolae  as  early 
as  the  8th  century.  In  1480,  after  a  chequered  career,  the  town, 
along  with  Forli,  came  into  the  possession  of  Girol.  Riario,  nephew 
of  Pope  Sixtus  IV.,  and  after  his  assassination  (1488)  it  was  held 
by  his  widow,  Catharine  Sforza ,  until  her  expulsion  by  Cesare 
Borgia  in  1499. 

The  completely  modernized  Cathedral  of  San  Cassiano  contains 
the  tomb  of  St.  Petrus  Chrysologus,  Archbishop  of  Ravenna  (d.  449), 
who  was  born  at  Imola.  —  The  handsome  Palace  of  Catharine  Sforza, 
with  its  rustica  facade,  is  in  the  Via  Cavour.  The  princess  is  buried 
in  the  ancient  church  oi  V  Osservanza.  —  Other  interesting  edifices 
are  the  Palazzo  Paterlini  (now  the  Banca  Popolare),  a  reduced  copy 
of  the  Pal,  Strozzi  at  Florence,  the  sumptuous  portal  of  the  church 
of  San  Domenico,  and  the  handsome  early -Renaissance  Ospedale 
Vecchio  (ca.  y80). 

The  little  church  of  Madonna  del  PirateUo,  near  the  town,  has 
a  campanile  attributed  to  Bramante. 

The  train  then  crosses  the  Santerno  to  (26  M.)  Castel  Bolognese 
(135  ft.;  Locanda  alia  Stella;  Rail.  Restaurant,  poor),  an  ancient 
stronghold  of  the  Bolognese,  where  the  Florentines  under  Niccold 
da  Tolentino  and  Gattamelata  were  defeated  by  the  Milanese  under 
Piccinino  in  1434.  —  Hence  to  Faenza,  see  p.  420. 

The  line  to  Ravenna  next  passes  (30  M.)  Solarolo,  in  the  Muni- 
cipio  of  which  is  a  relief  of  the  Madonna  by  Franc,  di  Simone,  of 
Florence.  —  35  M.  Lugo,  with  12,900  inhab.  and  a  castle  (Rocca) 
of  the  16-16th  cent. ,  is  the  junction  of  a  line  to  Lavezzola  (14^/2  M. ; 
p.  3(^6),  via  Massalonibarda.  —  38  M.  Bagnacavallo  (36  ft.),  with 
3700  inhab. ;  in  the  parish  church  (Pieve),  founded  in  the  5th  cent., 
are  the  remains  of  a  7th  cent,  ciborium  and  old  frescoes  of  the 
14th  century.  —  52  M.  Ravenna. 


Ravenna.  —  Hotels  (bargain  advisable).  Grand  Hotel  Bteon  (PI. 35; 
D,  5),  Via  Mazzini,  with  trattoria  and  garden,  R.  4G,  B.  H/2,  omn.  1  fr., 
variously  judged ;  Spada  d'Oko  e  San  Marco  (PI.  a;  I),  4),  Via  Farini,  with 
trattoria,  R.  'J'/z-Si  omn.  2/4  fr.,  clean;  Alu.  Eoma,  Piaz/.a  Vitt.  Emanuele 
(PI.  D.  4),  with  cafi'-rostauraDt,  R.  from  2  fr. ;  Alb.  Capi'ello,  Via  Kat- 
tazzi  9,  well  spokcu  of;  Alb.  Cf.ntuale,  Via  Urbano,  wiih  gord  trattoria, 
R.  from  l'/4  fr. ;  Unione,  Via  Sant'  Agnese,  nnprctendiug.  Mosquitoes 
troublesome  in  summer. 

Cafes.  Caffe  Eoma,  Caffi  del  Risorgimenlo  (with  bedrooms),  in  the 
Piazza  Vitt.  Emanuele;  Caffi  Byron,  Piazza  Byron,  tolerable. 

Oaba :  per  drive  1,  two-horse  IV2  tr.  (at  night  30  c.  extra);  first  hour 
2  or  2V2  fr.,  each  additional  '/a  hr.  1  or  V/i  fr. ;  beyond  the  town  2  fr.  20  c 
or  4  fr.  per  hour. 


410   Route  56'.  RAVENNA.  J/istnry. 

Steamboat  to  Trieste,  once  a  week  (in  1905  on  Wed.  at  5  p.m.),  fares 
12  or  8'  2  fr. 

Photographs.  Ricci,  Via  Farini  14.  —  Post  Office  (PL  D,  4),  Piazza 
Alighieri. 

Principal  Attractions  (l-l'/z  day):  'Baptistery  of  the  Orthodox  (p.  412), 
Cathedral  (p.  412),  Archiepiscopal  Chapel  (p.  413),  Museum  (p.  413),  San 
Vit.ale  (p.  415),  'Mausoleum  of  Galla  Placidia  (p.  416),  -Sant'  Apollinare 
Nuovo  (p.  417),  Mausoleum  of  Theodoric  (p.  418),  °Sant'  Apollinare  in  Classe 
(p.  419).  The  churches  are  closed  from  12  to  2  p.m.  Visitors  with  little 
time  should  hire  a  cab. 

Ravenna  (i3  ft.'),  formerly  the  capital  of  a  province,  now  largely 
desertefl,  with  11,700  inhah.,  is  situated  in  a  somewhat  marshy 
depression  near  the  united  rivers  (Fiumi  Riuniti)  Monlone  (the 
Roman  Vtis)  and  Ronco  (the  Roman  Bedesis).  It  was  originally  a 
town  on  the  Lagune  and  a  seaport,  like  Venice,  but  is  now  nearly 
5  M.  distant  from  the  sea  and  is  connected  with  Porto  Corsini,  its 
foreport  (founded  in  1736),  by  the  Canale  Corsini  (6  M.  long)  only, 
a  narrow  channel,  beginning  at  the  small  new  harbour  opposite  the 
station  (Darsena;  PL  G,  3,  4). 

Ravenna,  one  of  the  most  ancient  towns  in  Italy,  probably  owes  its 
earliest  importance  to  the  invasion  of  Italy  by  the  Celts,  when  the  TJm- 
brians  and  Etruscans,  fleeing  from  the  mainland  to  the  Lagune,  settled 
here.  It  was  an  early  ally  of  the  Romans,  but  as  a  punishment  for 
espousing  the  cause  of  Marius  it  was  incorporated  with  Gallia  Cisalpina, 
and  sank  to  the  level  of  a  provincial  town.  Augustus  was  the  first  to 
recognize  the  advantageous  situation  of  Ravenna.  He  enlarged  the  Partus 
Classis  till  it  could  accommodate  250  sail,  and  appointed  it  the  head- 
quarters of  the  Adriatic  fleet;  an  arsenal  and  large  ship-building  yards 
were  established  in  the  new  town  of  Classis,  which  rapidly  extended, 
while  the  industrial  suburb  of  Caesarea  sprang  up  on  the  Via  Caesarea, 
the  road  uniting  the  two  towns.  When  the  lagoon  began  to  be  filled  up 
by  the  deposits  of  the  rivers.  Ravenna  and  Classis  were  both  surrounded 
by  walls.  The  situafion  of  Ravenna  wa'',  however,  still  regarded  as  so 
impregnable  that  in  402,  amid  the  dangers  of  the  barbarian  Invasion,  the 
Emp.  Honorius  transferred  his  residence  thither  from  Rome.  In43'J,  during 
the  regency  of  his  sister  Galla  Placidia  (d.  450),  widow  of  the  Visigothic 
king  Athaulf  (d.  415)  and  Constantius  III.  (d.  421),  and  mother  of  Valen- 
tiniun  III.,  the  brilliant  imperial  city  was  erected  into  an  archiepiscopal 
see.  According  to  the  legend,  Christianity  had  been  introduced  in  44  A.D., 
by  St.  Apollinaris,  a  disciple  of  St.  Peter.  After  the  fall  of  the  Western 
Empire  the  town  was  taken  by  the  Herulian  Odoacer,  King  of  Italy,  and 
again  in  493  by  Theodoric  the  Great  (d.  526),  King  of  the  Ostrogoths,  after 
which  it  regained  much  of  its  former  splendour  and  was  the  residence  of 
the  Gothic  kings  till  539.  It  then  became  the  seat  of  the  exarch  or  governor 
of  the  Eastern  Roman  or  Greek  Emperors,  but  in  spite  of  the  numerous 
privileges  lavished  on  its  church  by  Justinian  and  his  successors,  it  fell 
rapidly  into  decay.  The  Lombards  razed  the  town  of  Classis  to  the  ground, 
and  in  751  their  duke  Aistulph  banished  Eutychius,  the  last  exarch,  and 
took  possession  of  Ravenna.  Shortly  afterwards,  however,  it  was  retaken 
by  Pepin,  King  of  the  Franks,  and  handed  over  to  the  pope,  along  with 
the  whole  of  the  former  exarchate  (755).  The  papal  rule  was  at  first 
entirely  nominal,  for  the  archbishops,  who  assumed  the  title  of  exarchs, 
also  succeeded  in  making  themselves  masters  of  a  great  part  of  the 
Romagna.  At  a  later  period  Ravenna  was  usually  to  be  found  on  the  side 
of  the  German  emperors.  In  1297  the  Ghibelline  Polenta  family,  of  whom 
favourable  mention  is  made  by  Dante,  obtained  the  supreme  power,  and  in 
1318  they  added  also  the  title  of  duke.  In  1441  Ravenna  came  into  the 
possession  of  the  Venetians,  under  whom  its  prosperity  materially  increased  ; 
in  1509  it  was  conquered  by  Pope  Julius  II. ;  and  in  1512,  after  the  battle 


Art  Hislortj.  KWENNA.  58.  Route.   411 

of  Ravenna  (p.  420),  it  was  plundered  by  the  victori(Jus  French  army  and 
lost  its  prosperity  for  ever.  Thenceforward  until  1797,  and  again  in 
1815-60,  it  belonged  to  the  States  of  the  Chuvch.  In  Aug.,  1849,  Garibaldi 
found  refuj;e  at  Ravenna  from  the  pursuing  Austrians,  while  his  wife 
Anita  succumbed  to  the  fatigues  of  the  flight. 

In  the  History  of  Early  Christian  Art  of  the  5-8th  century,  Ravenna  is 
the  most  important  place  in  Italy  next  to  Rome.  While  most  of  the  other 
Italian  cities  fell  into  decay  after  the  barbarian  invasion,  Ravenna  ?aw 
new  and  imposiny;  structures  rising  in  her  midst  at  that  period.  The 
connection  of  Roman  and  Byzantine  art  may  best  be  studied  at  Ravenna. 
Here,  as  at  Constantinople,  also  formerly  the  centre  of  a  brilliant  archi- 
tectural period,  the  traveller  will  observe  how  the  capitals  of  the  columns 
were  gradually  remodelled,  and  a  new  style  of  ornamentation  introduced. 
Besides  the  basilicas  there  are  also  dome-structures,  which  form  a  link 
between  Byzantium  and  some  of  the  churches  of  N.  Italy  and  the  cathedral 
at  Aix-la-Chapelle.  The  ancient  Buildings  of  Ravenna  belong  to  three 
dilTerent  periods,  the  first  being  that  of  Honorius  and  his  sister  Galla 
Placidia,  40'i-450  (Cathedral,  SanC  Agata,  San  Oiovanni  £vangelista,  San 
Giovanni  Battistn,  Mausoleum  of  Galla  Placidia,  Arc/iiepiscopal  Chapel,  Bap- 
tistery of  the  Orthodox,  and  San  Francesco)  ;  the  second  a  Gothic  period  from 
493  to  about  539  (Cathedral  of  the  Arians  or  Sanf  Apollinare  Nuovo,  Spirito 
Santo,  Baptistery  of  tiie  Arians  or  Santa  Maria  i/i  Cosmedin,  and  the  Mau- 
soleum of  Tlieodoric) ;  and  the  third  a  Byzantine  period  from  539  onwards 
(San  Vitale  and  Sant'  AjiolUnare  in  Classe ,  both  begun  in  the  preceding 
period,  and  the  so-called  Palace  of  Theodoric).  The  basilicas  of  Ravenna 
difler  Irom  the  Roman  in  having  their  porticoes  converted  into  a  closed 
anterior  structure,  in  possessing  columns  expressly  designed  for  their  ob- 
ject (by  Byzantine  architects  in  Isfria)  instead  of  being  brought  from  other 
buildings,  and  in  showing  a  consistent  use  of  the  round  arch  with  cor- 
responding articulation  on  the  external  walls  (Palace  of  Theodoric;  Sanf 
Apollinare  in  Classe).  This  last  feature  appears  also  in  Diocletian's  build- 
ings at  rfalona.  Kound  campanili,  detached  from  the  churches,  begin  to 
appear  about  the  9th  century.  Transepts  are  wanting,  as  also  was  pro- 
baldy  the  case  originally  in  most  of  the  Roman  basilicas.  Notwithstanding 
the  alterations  of  subsequent  ages,  and  the  raising  of  the  pavements  by 
several  feet,  which  was  rendered  neces.sary  by  the  gradually  increasing 
elevation  of  the  surrounding  soil,  these  noble  monuments  of  triumphant 
Christianity  are  profoundly  impressive,  and  their  efi'ect  is  greatly  enhanced 
by  the  stillness  and  solitude  of  the  environs.  —  Mosaic  Painting  was  also 
extensively  practised  at  Ravenna.  The  earlier  symbolism  (Baptistery  of 
the  Orthodox,  Mausoleum  of  Galla  Placidia)  was  gradually  abandoned  for 
the  historical  Christian  style  (Sanf  Apollinare  Nuovo,  San  Vitale),  but 
at  the  same  time  the  fidelity  to  nature  tiecame  less  and  the  designs  became 
stitT  and  conventional.  At  this  period,  too,  the  costly  but  slilF  costumes, 
and  the  ceremonial  air  of  the  Byzantine  court,  began  to  aflfect  the  designs, 
thus  preparing  the  way  for  the  later  Byzantine  style.  —  The  traveller  will 
also  have  an  opportunity  here  of  examining  Sarcophagi,  Ivoitr  Carving 
(Throne  of  Archbp.  Maximian,  p.  413),  Stucco  Reliefs  (Baptistery  of  the 
Orthodox,  p.  41'^),  and  other  works  of  the  early  Christian  period,  and  thus 
obtain  a  very  comprehensive  review  of  the  art  products  of  the  centuries 
preceding  the  Carlovingian  era. 

Lord  Byron,  who  preferred  Ravenna  to  all  the  other  towns  of  Italy, 
and  was  influenced  in  some  measure  by  his  intimacy  with  the  Countess 
Guiccioli,  a  member  of  the  Gamba  family  of  Ravenna ,  spent  two  years 
here  (June,  1819,  to  October,  1821;  see  p.  414). 

From  the  station  (PI.  G,  3),  in  front  of  which  rises  a  statue  to 
the  Italian  patriot  L.  C.  Farini,  Dictator  of  the  Emilia  in  1860,  we 
pass  the  Piazza  Anita  Garibaldi,  with  the  church  of  San  Giovanni 
Evangelista  (p.  417),  and  crossing  the  Corso  Giuseppe  Garibaldi 
(to  the  right,    Spirito   Santo   and   the  Baptistery   of  the  Arians, 


412    Routers.  RAVENNA.       South. West  Quarters. 

p.  417),  proceed  straight  on  through  the  Via  Fariui  to  the  Piazza 
ViTTORio  Emanuelb  (PI.  D,  4"),  in  the  centre  of  the  town.  In  front 
of  the  Palazzo  Municifale  (PI.  30;  huilt  iii  1681),  in  this  piazza, 
rise  two  lofty  Columns  erected  by  Pietro  Lombardi  in  1483  for  the 
Venetian  government,  bearing  statues  of  SS.  Apollinaris  and  Vitalis 
( 1630).  Adjoining  is  a  Colonnade  of  eight  columns  of  granite,  per- 
haps a  fragment  of  the  church  of  Sant'  Andrea  dei  Goti,  built  by 
Theodoric  the  Great  and  pulled  down  in  1457.  The  king's  monogram 
is  discernible  on  four  of  the  capitals.  —  A  little  to  the  N.,  at  the 
end  of  the  Via  Tredici  Giugno,  to  the  left,  is  the  Torre  Comunale 
(PI.  42;  D,  3),  a  tower  of  the  Uth  or  12th  century. 

Behind  the  town -hall  is  the  Piazza  Venti  Settembre  (PI.  C,  4), 
with  a  granite  column,  erected  in  1609.  —  The  Via  Gioacchino 
Rasponi  leads  hence  to  the  S.W.  to  the  Piazza  del  Duomo,  in  which 
stand  a  granite  column  of  1605  and  the  — 

Cathedral  (PI.  C,  5)  of  Sant'  Orso,  or  Basilica  Vrsiana,  huilt  in 
1734-44  on  the  site  of  a  church  founded  by  Bishop  Ursus  (d.  396). 
The  present  building  consists  of  nave  and  aisles  with  transept, 
surmounted  by  a  dome  above  the  crossing.  The  campanile  and  the 
(inaccessible)  crypt  are  the  only  relics  of  the  ancient  church. 

Inteuior.  2nd  Chapel  on  the  right:  sarcophagus  of  SS.  Exuperantius  and 
Maximianus  (6th  cent.).  In  the  S.  Transept  is  the  chapel  of  the  Madonna 
del  Sudore,  built  in  1630-59  and  containing  two  early-Christian  marble 
sarcophagi,  said  to  be  those  of  SS.  Barbatian  and  Reginald.  The  Choib 
contains  a  marble  sarcophagus  with  the  remains  of  nine  bishops  of  early 
date;  to  the  right  the  Croce  di  Sanf  Agnello,  a  silver  cross  of  the  6th 
cent,  (freiluently  restored),  with  figures  of  37  bishops  and  3  archbishops 
(ihe  reliefs  in  the  centre  of  the  IGth  cent.).  —  In  the  Left  Aisle,  on  each 
side,  are  several  marble  slabs  with  figures  of  animals,  birds,  and  fishes, 
dating  from  the  6th  cent.,  being  fragments  of  a  pulpit  ('ambo')  erected  by 
Archbishop  Agnellus  (556-569),  with  the  inscription  'Servus  Christi  Agnellus 
episcopus  hunc  pyrgum  fecit'.  Choir-screen  panels  of  the  5th  cent,  have 
been  let  into  the  floor.  —  In  the  lunette  above  the  entrance  to  the  sacristy, 
to  the  right,  "Elijah  in  the  desert,  fed  by  the  angel,  a  fresco  by  Gviclo  Reni. 
—  The  chapel  of  the  Holy  Sacrament  (1612)  in  the  N.  Transept  contains 
the  Shower  of  Manna,  also  by  Ouido  Retii;  the  frescoes  on  the  ceiling, 
Christ  in  glory,  are  by  his  pupils. 

Adjoining  the  Cathedral  is  the  — 

*Baptistery  of  the  Orthodox  [Battistero  degli  Ortodossi ,-  PI,  C  5), 
or  San  Giovanni  in  Fonte,  an  octagonal  structure,  with  a  cupola, 
constructed  of  clay-vessels.  According  to  Corrado  Riccl,  this  was 
originally  part  of  a  Roman  bath,  converted  to  Christian  uses  by 
Archbp.  Neon  (449-462).  The  building  was  restored  in  1865-85. 
Custodian,  Via  del  Battistero  2  (fee  30  c). 

The  Interior,  the  pavement  of  which  has  been  raised  nearly  10  ft., 
contains  two  arcades,  one  above  the  other.  The  cupola  is  decorated  vpith 
''^fosaics  of  the  5th  cent,  (partly  restored),  the  best  and  most  ancient  at 
Ravenna,  representing  the  Baptism  of  Christ  (with  a  beard)  with  the  river- 
god  of  the  Jordan  on  a  gold  ground  and  the  twelve  Apostles  on  a  blue 
ground.  Under  these  runs  a  broad  frieze,  on  which,  between  the  groups  of 
light  columns,  are  represented  four  altars  with  the  open  books  of  the  gospels, 
and  thrones  with  crosses.  The  upper  arcade-i  of  the  wall  are  adorned 
with  sixteen  figures  of  prophets  (?),  and  architectonic  enrichments,  in  stucco. 


South-West  Quarters.       RAVENNA.  68.  Route.    413 

On  the  lower  section  of  the  wall  are  admirable  mosaics  of  gold  festoons  on  a 
blue  ground  with  statues  of  prophets  (1)  at  the  corners.  The  large  font  in 
white  marble  and  porphyry  is  of  the  16tb  cent.,  but  its  parapet  is  ancient.  — 
In  the  niches  are  an  altar  and  a  Bacchic  vase. 

On  the  first  floor  of  the  Archiepiscopal  Palace  (PL  C,  5), 
restored  in  the  16th  cent.,  is  the  Cappella  di  San  Pier  Crisoloyo 
(p.  409),  a  square  vaulted  chamber  of  the  5th  cent,  (fee  30-50  c). 

The  vaulting  is  adorned  with  ancient  Afosaics;  in  the  arches,  saints; 
in  the  centre,  on  the  groining,  four  angels  holding  the  monogram  of  Christ-, 
under  them  the  symbols  of  the  four  Evangelists ;  in  the  centre  of  the  arch, 
Christ  as  a  young  man  without  beard.  The  Madonna  and  two  saints  over 
the  altar  were  originally  in  the  cathedral.  The  so-called 'Throne  of  Arch- 
bishop Maximian  (546-^52),  which,  however,  is  more  probably  a  throne 
presented  by  Pietro  Orseololl.,  Doge  of  Venice,  to  the  Emp.  Otho  III. 
in  1001  and  brought  by  the  latter  to  Ravenna  (comp.  p.  411).  The  throne 
is  adorned  wiih  reliefs  in  ivory,  representing  John  the  Baptist  in  the  centre 
in  front,  the  four  Evangelists  on  the  right  and  left,  the  history  of  Joseph 
(in  ten  graphic  reliefs)  at  the  sides,  and  the  life  of  Christ  on  the  back,  in 
7  (originally  16)  scenes.  The  scenes  are  surrounded  with  charming  or- 
namentati>m  (animals  in  rich  foliage). 

The  Sala  Lapidaria,  or  anteroom,  contains  ancient  and  early-mediteval 
inscriptions;  a  Homan  torso  in  porphyry;  a  "Relief  with  children,  a  frag- 
ment of  the  frie/e  of  the  temple  of  Neptune  (p.  416);  tbe  cope  of  the 
canonized  bishop  St.  Johannes  Angelopte^  (?),  perhaps  dating  from  the 
Otii  cent. ;  and  ;in  Ea^iter  Calendar  from  532  to  626.  —  The  archiepiscopal 
Archives  comprise  about  11,000  documents  on  parchment. 

On  the  right  (No.  3),  at  the  beginning  of  the  Via  Alfredo  Baccarini, 
leading  to  the  Porta  San  Mamante,  is  the  Accademia  di  Belle  Arti 
(PI.  D,  5),  founded  in  1827  (open  9-2;  ring  at  the  gate,  50  c.  ; 
director,  V.  Guaccimanni). 

The  Picture  G.\lleet  chiefly  contains  pictures  by  masters  of  the  place, 
such  as  two  Madonnas  by  Niccolb RondinelU ;  a  Crucifixion,  Nativity,  Descent 
from  the  Cross,  and  several  portraits  by  Luca  Longhi  (16' '7 -80);  pictures 
by  his  son  Francesco.  The  following  may  also  be  mentioned:  Ouercino, 
St.  Romuald;  Al.  Tiarini,  St.  John;  C.  Cignani,  St.  Benedict.  —  Among  the 
other  contents  of  the  Academy  are  a  large  ancient  mosaic  found  at  Sant' 
Apollinare  in  Classe  in  1875;  the  "Monument  with  recumbent  statue  of 
Gaidarello  Gnidarelli,  'guerrier  Ravennate*  (d.  1501),  by  Tullio  Lomhardi; 
Endymion,  by  Canova  ;  a  bust  of  St.  Apollinaris  by  Thorvaldsen ;  many  casts 
from  the  antique. 

In  the  same  street,  No.  5,  is  the  secularised  Camaldulensian 
monastery  of  Classe,  built  in  1515  etseq.  by  the  monks  of  Sant' Apol- 
linare in  Classe  Fuori,  It  now  contains  the  Municipal  Collections 
{Blblioteca  e  Museo;  PI.  D,  6). 

On  the  groundflnor  is  the  Museo  Nazionale  (adm.  on  week-days  9-3, 
Sun.  &  holidays,  9-12,  free;  no  catalogue). 

We  first  enter  the  fine  Cloistkrs,  built  by  Qiulio  Morelli  of  Florence 
in  the  17th  cent.,  which  contain  Greek,  Etruscan,  Roman,  and  Byzantine 
inscriptions  and  fragments  of  Roman  buildings  and  statues.  E.  Walk: 
229.  Relief  representing  the  Apotheosis  of  Augustus,  with  the  seated  figure 
of  Roma  to  the  left  and  figures  of  Julius  Cicsar,  Augustus,  and  Claudius; 
fragment  of  the  same  work,  with  procession  of  siicrificial  animals.  N.  Walk  : 
64.  Tomb-relief  of  the  Longidiena  family.  —  We  now  enter  (to  the  right) 
the  Vestibule  op  thk  Refkctory,  with  a  bust  of  Pope  Innocent  X.  by  Jier- 
nini.  —  In  the  Refkctoet  are  furniture,  a  collection  of  coins  and  medals, 
and  a  fresco  of  the  Wedding    at  Cana,   by  Luca  Longhi  (1580). 

In  the  CoRKiDOR  leading  to  the  church  are  remains  of  sarcophagi, 
inscriptions,  and  mosaics  from  the  churches  of  Ravenna. 


414   Route  58.  RAVENNA.        South-East  Quarters. 

The  old  Convent  Chuech  of  San  Eomdaldo,  restored  by  Luca  Dane»i 
in  the  baroque  style  in  1630,  with  its  fine  altars  adorned  with  rare  marbles, 
contains  early-Christian,  Byzantine,  mediaeval,  and  Renaissance  sculptures 
in  marble:  533.  Early  Christian  sarcophagus-reliefs  of  the  5th  cent.  (Christ 
in  the  act  of  benediction,  Raising  of  Lazarus,  Daniel  in  the  Lions'  Den); 
651.  Ant.  Braccio,  Seated  figure  of  Pope  Clement  XII.  (1738),  transferred 
hither  from  the  Piazza  Vitt.  Emanuele  in  1867.  The  large  porphyry  basin 
was  brought  hither  from  the  Mausoleum  of  Theodoric  (p.  418).  —  Adjacent 
are  small  and  tasteful  Cloisters,  brought  from  Santa  Maria  in  Porto  in 
1886,  and  containing  some  terracottas,  etc. 

The  former  Saceistt  contains  the  main  part  of  the  collections.  In 
the  middle,  Case  1.  Parts  of  a  Byzantine  set  of  jewels,  found  in  1879  in 
the  crypt  of  San  France.^co;  remains  of  a  cosily  'Suit  of  gold  armour, 
inlaid  with  Oriental  garnets,  probably  Theodoric's,  found  in  the  Darsena 
in  1854;  Case  2.  Works  in  ivory.  On  the  walls:  embroidery,  wood-carvings, 
bronzes,  fine  majolica,  terracottas,  etc.  —  A  Side  Room  contains  Egyptian, 
early  Italic,  and  Roman  antiquities. 

On  the  first  floor  is  the  Biblioteca  Comunale  (admission  daily,  10-2, 
except  on  Sundays  and  holidays),  founded  in  1707,  containing  72,000  vols, 
(including  700  incunabula)  and  lUOO  MSS.  Among  the  latter  are  the  cel- 
ebrated MS.  of  Aristophanes  of  the  10th  cent.;  one  oi  Dante  of  1369;  letters 
of  Cicero  of  the  15th  cent. ;  commentary  of  Benvenuto  da  Imola ;  prayer-book 
of  Mary  Stuart,  with  miniatures;  Viiitors''  Book  from  the  Tomb  of  Dante. 
The  rare  editions  include  the  Decretals  of  Boniface  VIII.,  printed  by  Fust 
at  Mayence  in  1465.  Here  also  is  shown  the  chest  (re-discovered  in  1865), 
in  which  the  bones  of  Dante  were  preserved  since  1677  (see  p.  415). 

The  Tower,  which  is  used  as  a  meteorological  observatory,  affords  a 
fine  panorama. 

Sant'  Agata  (PI.  D  6 ;  entrance  Via  Mazzini  46),  a  basilica  con- 
sisting of  nave  and  aisles  with  an  inner  vestibule,  dates  originally 
from  the  5th  cent,  but  was  almost  entirely  rebuilt,  including  the 
round  campanile,  in  1476-94.  In  1893  it  was  restored  in  the  original 
style.  It  contains  beautiful  antique  marble  columns  and  an  ancient 
ambo,  or  pulpit,  shaped  like  the  hollowed  drum  of  a  column. 

A  little  to  the  N.  is  the  small  Piazza  Byron  (PI.  D.  5),  at  the 
corner  of  which  is  the  Hotel  Byron  (PI.  35),  formerly  the  Palazzo 
Rasponi,  occupied  from  June,  1819,  to  Oct.,  1821,  by  Lord  Byron 
(p.  411),  as  the  memorial  tablet  records. 

The  neighbouring  church  of  San  Francesco  (PI.  D,  5),  formerly 
S.  Pietro  Maggiore,  is  said  to  have  been  founded  by  St.  Petrus  Chryso- 
logus  (p.  409),  but  is  now  entirely  modernised  (1793)  with  the 
exception  of  the  tower  and  the  crypt.  It  has  belonged  to  the  Francis- 
cans since  1261. 

The  Interior  consists  of  nave  and  aisles,  with  22  columns  of  coloured 
marble.  Unpleasing  modern  ceiling.  At  the  entrance  are  several  ancient 
tombstones;  on  the  right  that  of  Ostasio  da  Polenta,  of  1396;  on  the  left 
that  of  Enrico  Alfieri,  who  died  in  1405,  at  the  age  of  92,  as  general  of 
the  Franciscans,  below  which  is  a  Christian  sarcophagus  of  the  4th  century. 
The  Cappella  del  Crocefisso,  the  2nd  on  the  right,  contains  two  columns 
of  Greek  marble  and  handsome  pilasters  of  the  15th  century.  In  the  chapel 
on  the  right  of  the  choir  is  the  alleged  sarcophagus  of  the  bishop  St.  Liberius 
(374-378).  At  the  end  of  the  left  aisle  is  the  fine  Renaissance  monument  of 
LufTo  Numai,  by  Tom.  Flamberti  (1509).    The  crypt  is  generally  under  water. 

Adjoining  the  church  on  the  left  is  Dante's  Tomb  (PI.  41 ;  D,  5). 
The  poet  died  at  Ravenna,  where  he  enjoyed  the  protection  of  Guido 


Northern  Quarters.  RAVENNA.  58.  Route.    415 

da  Polenta,  on  13th  Sept.,  1321,  at  the  age  of  56,  and  was  tempor- 
arily interred  in  the  narthex  of  the  church  of  San  Francesco. 

In    1482  Bernardo  Bembo,   the  Venetian   governor  (father   of  the   cel- 
ebrated Cardinal  Beinbo),   caused  the    present   mausoleum   to    be    erected 
from  designs  by  Pielro  Lomhardi,    but   it  was    practically  rebuilt   in  1780. 
It   ia   a   square    structure    with   a    dome,    embellished   with  medallions  of 
the  poet's  teachers  and  patrons  (Virgil,  Brunetto  Latini,  Can  Grande  della 
Scala,  and  Guido  da  Polenta);  opposite  the  entrance  is  a  half-length  relief  of 
Dante,  and  below  it  a  sarcophagus,  a  marble  urn  in  which  now  contains  the 
poet's  remains.     It  bears  an  epitaph  composed  by  Bern.  Canaccio  in  1367:  — 
Jura  Monarchiae,  Svperos,  Pfdegelhonta  laaisqve 
Liistrando  cecini,  roltiernnt  fata  quousqve, 
Sed  quia  pars  cessit  meiioribtis  hospita  castris, 
A(u)ctoremque  suum  petiit  felicior  astris, 
Hie  claudor  Daiites,  patriis  extorris  ah  oris, 
Qnem  genuit  parvi  Florencia  mater  amoris. 

To  the  right  of  the  tomb  is  the  so-called  Sepolereto  di  Braccio- 
forte,  a  small  court  with  eleven  Early  Christian  Sarcophagi,  some 
of  which,  however,  were  found  elsewhere.  The  largest  (4th  cent.) 
has  a  representation  of  Christ  between  St.  Peter  and  St.  Paul,  with 
the  Annunciation  and  Visitation  at  the  sides, 

A  little  to  the  N.  of  the  Piazza  Venti  Settembre  (p.  412)  is  the 
church  of  San  Domenico  (PI.  C,  3,  4),  founded  in  12G9  and  rebuilt 
by  O.  B.  Contini  ab^ut  1700;  it  is  adorned  with  four  paintings  by 
A^  Rondinelli.  —  In  the  Via  Cura,  to  the  S.  of  the  Porta  Adriana, 
is  the  picturesque  littl?  church  of  Santi  Giovanni  e  Paolo  (PI.  B, 
3,  4),  of  ancient  foundation,  but  rebuilt  by  Dom.  Barbiani  in  1758; 
the  lower  part  of  the  tower  belonged  to  the  original  edifice.  An  ambo 
of  596  in  the  interior  resembles  that  in  the  cathedral  (p. 412  ). 

**San  Vitale  (PI.  C,  3)  was  erected  under  the  superintendence 
of  JuUanui  Argentariu<i  [  'the  treasurer"!  by  Archbp.  Ecclesius  (526- 
534)  on  the  spot  where  St.  Vitalis  suffered  martyrdom,  and  was 
consecrated  by  St.  Maximian  in  547.  The  church,  which  was  prob- 
ably originally  the  court-church,  is  octagonal  (38  yds.  in  diameter), 
with  a  choir,  three-sided  on  the  exterior,  and  round  in  the  interior, 
added  to  it  on  the  E.  side.  The  vestibule  adjoining  the  church 
obliquely  on  the  W.  side  was  originally  flanked  by  two  towers,  of 
which  that  on  the  S.  was  replaced  at  an  early  date  by  a  campanile, 
restored  in  1688. 

The  Interior,  remodelled  in  1530-40,  was  restored  by  Corrado  Ricci 
in  1893-1902  and  freed  from  inappropriate  additions,  with  the  exception  of 
the  baroque  frescoes  by  Serafino  Barozzi  and  others  in  the  dome.  It  is 
divided  by  eight  massive  pillars  into  a  central  space  and  a  surrounding 
ambulatory.  Between  the  pillars  are  semicircular  niches  with  pairs  of 
columns  and  arches,  in  two  series,  one  above  the  other,  over  which  rises 
the  dome,  constructed  of  earthen  vessels.  Each  of  the  windows  in  the 
dome  is  divided  by  a  mullion  into  two  round-arched  lights.  The  lower 
parts  of  the  pillars  are  still  incrusted  with  their  original  coating  of  rare 
marble  ('AfFricano').  The  upper  columns  have  capitals  of  several  pieces. 
the  lower  columns  fine  trapezium-capitals  (perhaps  the  earliest  in  Ravenna). 
The   pavement  has   been   raised   about  2t/2  ft.   in  the  course  of  centuries. 

The  CnoiR  is  adorned  with  admirable  Mosaics ,  which  are  however 
inferior  in  style  to  those  of  earlier  date  in  the  Baptistery  of  the  Orthodox 
I  p.  412)  and  to  those  of  the  Mausoleum  of  Galla  Placidia  (p.  416);  Christ 


416   Route  58.  RAVENNA.  Northern  Quarters. 

enthroned  on  the  globe,  angels  on  both  sides ;  on  the  right  St.  Vitalis, 
and  on  the  left  St.  Ecclesius  with  the  church  itself.  Below,  (1.)  Emp. 
Justinian  with  the  Archbp.  Maximian  and  attendants,  and  (r.J  the  Empress 
Theodora  with  the  ladies  of  her  court,  both  presenting  offerings.  Above 
these,  under  the  windows,  are  represented  Jerusalem  (on  the  left)  and 
Bethlehem  (on  the  right).  Above,  on  the  side-walls,  the  four  Evangelists 
sitting,  beneath  them,  Jeremiah  (on  the  left)  and  Isaiah  (on  the  right) 
standing.  On  the  left  in  the  centre,  the  three  angels  entertained  by  Abra- 
ham, Sarah  at  the  door,  and  sacrifice  of  Isaac.  On  the  right,  in  the  central 
scene,  an  altar  with  bread  and  wine ;  at  the  sides,  the  blood-sacriflce  of 
Abel  and  the  bloodless  offering  of  Melchisedech.  Beside  it,  Moses  as  a 
shepherd;  above,  Moses  putting  olThis  shoes  before  the  burning  bush.  In 
the  archway,  busts  of  Christ  (repainted),  the  Apostles,  and  SS.  Gervasius 
and  Protasius ,  sons  of  St.  Vitalis.  The  beautiful  Altar  of  translucent 
Oriental  alabaster,  intended  to  be  illumined  by  lights  placed  within  it, 
was  reconstructed  in  1898.  —  At  the  entrance  to  the  choir,  two  Roman 
^Reliefs  from  a  frieze  in  a  temple  of  Neptune,  representing  his  throne  with 
three  putti  holding  shells  and  tridents. 

In  the  Ambdlatort,  which  was  adorned  in  1902-3  with  old  marble  slabs, 
are  placed  two  early-Christian  sarcophagi.  —  At  the  N.W.  angle  are  traces 
of  the  old  winding-staircase  that  led  to  the  Women's  Gallery  ( Maironaeum) 
in  the  N.  tower.  From  the  gallery,  which  is  now  reached  by  a  modern 
staircase  to  the  left  of  the  choir,  we  may  enter  the  campanile,  near  which 
an  archway  with  ancient  .«tucco  ornamentation  (6th  cent.)  has  been  preserved. 

The  Cappella  Santta  Santtorum,  restored  in  190i,  now  contains  an  early- 
Christian  sarcopbasus  of  the  5th  tent.,  with  reliels  (Daniel  in  the  Lions'  Den, 
Adoration  of  tlie  Mas;),  Raising  of  La/arus),  afterwards  used  as  the  tomb  of 
the  Greek  Exarch  Isaac  (d.  64i). 

The  custodian  of  San  Vitale  (30  c.)  keeps  the  key  of  the  — 
^Mansoleum  of  Galla  Placidia^Pl.  27 ;  C,  2),  now  Santi  Nazario 
e  Celso,  founded  about  440  by  that  Empress  (p.  410)  beside  the 
church  of  Santa  Croce,  the  anterior  half  of  which  was  pulled  down 
in  1602.  The  church  is  in  the  form  of  a  Latin  cross,  49  ft.  long, 
41  ft.  broad,  with  a  dome. 

The  Intehiok  (restored  in  1898),  the  pavement  of  which  is  about  5  ft. 
above  the  original  level,  was  lined  with  costly  marble  slabs  in  1901-2,  and 
is  adorned  with  beautiful  'Mosaics  of  the  5th  cent.,  on  a  dark  blue  ground: 
in  the  dome,  a  Latin  cross  between  the  symbols  of  the  four  Evangelists; 
in  the  four  arches  eight  apostles,  between  whom  are  doves  drinking  out 
of  a  vase  (resembling  the  celebrated  mosaic  at  the  Capitol);  under  the 
vaulting  of  the  right  and  left  transept  are  the  other  four  apostles  in  gilded 
mosaic;  beside  them  in  the  lunettes  are  stags  at  a  spring.  Over  the  door 
is  "Christ  as  a  young  shepherd,  with  long  hair;  opposite  is  the  triumph 
of  Christian  faith,  in  which  St.  Laurence  is  committing  to  the  flames  an 
open  book,  probably  heretical;  the  adjacent  cabinet  contains  the  gospels. 
—  Behind  is  the  large  marble  Scireopkagus  of  Galla  Placidia  (d.  450,  gutted 
by  fire  in  1577),  in  which,  according  to  a  mediaeval  tradition,  the  Kmpress 
was  interred  in  a  sitting  posture.  The  other  marble  sarcophagi  (also  empty) 
are  said  to  be  those  of  the  emperors  Constantius  III.  and  Valentinian  III. 

The  church  of  Santa  Maria  Maggiore  (PI.  17 ;  C,  3),  also  founded 
by  Archbp.  Ecclesius  (p.  416),  was  rebuilt  in  1671,  the  only  relics 
of  the  original  church  being  the  columns  and  the  campanile. 

San  Giovanni  Battista  (PI.  D,  3;  entrance  Via  Girol.  Rossi), 
erected  by  Baduarius  for  Galla  Placidia  (?),  was  almost  entirely 
rebuilt  after  1683  by  Pittro  Grossi.  The  substructions  of  the  tower 
and  the  interior  columns  belong  to  the  original  church. 

In  the  N.E.  corner  of  the  town   is  the  Rocca  di  Brancaleone 


East  Quarters.  RAVENNA.  55.  Route.    417 

(PI.  F,  2),  the  old  castle  of  Ravenna,  built  after  1467  by  the  Ven- 
etians and  partially  taken  down  in  1736. 

The  CoEso  Giuseppe  Garibaldi  (PI.  E,  F,  2-6)  leads  to  the  N. 
to  the  Porta  Serrata  (thence  to  the  Mausoleum  of  Theodoric,  see 
p.  418),  and  to  the  S.  to  — 

Spirito  Santo  (PI.  E,  3,  4 ;  entrance  in  the  Via  Paolo  Costa),  or 
San  Teodoro,  erected  by  Theodoric  for  the  Arian  bishops,  but  re- 
built in  the  IGth  century.  It  is  a  flat-roofed  basilica,  with  a  vesti- 
bule at  the  W.  entrance  and  a  Renaissance  portal,  and  is  adorned 
with  fourteen  columns  of  coloured  marble  in  the  interior.  In  the 
1st  chapel  on  the  left  is  an  ancient  marble  pulpit  — The  sacristan 
(in  the  house  No.  8)  also  keeps  the  key  of  the  adjacent  Baptistery 
of  the  Arians,  afterwards  the  oratory  of  Santa  Maria  in  Cosmedin, 
but  originally  the  octagonal  hall  of  a  Roman  bathing-establishment. 

The  octagonal  dome  is  adorned  with  Mosaics  of  the  6th  cent,  (freely 
restored!:  in  the  centre,  Ba]itism  of  Christ:  on  the  left,  the  river-god  of 
the  Jordan,  surrounded  by  the  Apo.stles.  The  present  pavement  is  about 
7  ft.  above  the  original  level.  Several  Arian  crosses  are  built  into  the 
walls  of  the  Casa  di  Droedone,  the  adjoining  house  on  the  left. 

In  the  Piazza  Anita  Garibaldi  (p.  411)  is  the  church  of  — 
San  Giovanni  Evangelista  (PI.  F,  4)  ,  erected  in  424  by  the 
Empress  Galla  Placidia  in  consequence  of  a  vow  made  during  a 
voyage  from  Constantinople,  but  almost  wholly  rebuilt  in  1747, 
except  the  tower  (11th  cent.).  The  court  in  front  has  retained  the 
form  of  the  ancient  atrium.  Above  the  beautiful  Gothic  portal  of  the 
latter  (1316)  are  reliefs  in  allusion  to  the  foundation  of  the  church. 
The  Interior  (if  closed,  knock  at  the  door),  with  its  unpleasing  barrel 
vaulting,  consists  of  nave  and  aisles  borne  by  twenty-four  antique  columns. 
The  pavement  has  been  raised  by  about  6  ft.  The  vaulting  of  the  4th  chapel 
on  the  left  is  adorned  with  frescoes  (retouched)  of  the  four  Evangelists, 
with  their  symbols  above  them,  and  the  four  fathers  of  the  church,  SS. 
Gregory,  Ambrose,  Augustine,  and  Jerome,  by  Oiotlo  (who  bad  come  to 
Ravenna  between  1317  and  1320  on  a  visit  to  his  friend  Dante).  In  the 
closed  chapel  of  St.  Bartholomew  (left  of  choir)  are  remains  of  a  rude 
Mosaic  Pavement  of  1213,  representing  scenes  from  the  Third  Crusade.  The 
cry]  t  contains  the  ancient  altar  of  the  churoh  (5th  cent.). 

*Sant'  Apollinare  Nuovo  (PI.  E,  4,  5),  a  basilica  erected  after 
500  by  Theodoric  the  Great  as  an  Arian  cathedral,  was  in  560  con- 
verted by  the  Archbishop  St.  Agnellus  into  a  Roman  Catholic  church 
(St.  Martinus  in  Coelo  aureo).  It  has  borne  its  present  name  since 
the  8th  or  9th  century.  The  campanile  is  old.  The  atrium  and  apse 
were  removed  in  the  16th  and  18th  cent.,  but  the  nave  still  affords 
the  rare  spectacle  of  a  well-preserved  interior  decoration  of  the  early- 
Christian  period.    The  ceiling,  however,  was  modernized  in  IGll. 

The  Interior  contains  twenty-four  marble  columns  brought  from 
Constantinople.  On  the  right  is  an  ancient  ambo.  The  walls  of  the  nave 
are  adorned  with  interesting  •i/'o.?f/(cs  of  the  6th  cent.,  partly  of  the  Arian, 
and  partly  of  the  Rom.  Cath.  period,  afterwards  frequently  restored  (most 
recently  in  1SP8-&9) :  on  the  left  the  town  of  Claasis  with  its  Roman  build- 
ings, the  flea  and  ships,  and  twenty-two  virgins  with  the  Magi  ap]iioach- 
Jngthe  Madonna  enthroned  between  angels  (the  E.  half  badly  restortjd);  on 
the  right  the  city  of  Ravenna  with  its  churches  (still  without  towers)  and 


418    Route  58.  RAVENNA.  East  Quarters. 

the  palace  of  Theodoric,  and  twenty-six  saints  with  wreaths  approaching 
Christ  enthroned  between  angels  (a  group  which  has  also  been  freely 
restored).  These  last  mosaics  betray  a  tendency  to  the  showy  style  of  the 
later  period,  but  the  16  single  figures  of  the  teachers  of  the  church  above 
them,  between  the  windows,  are  executed  in  a  more  independent  and 
pleasing  manner.  Above  the  windows,  on  the  upper  part  of  the  wall,  on 
each  side,  are  thirteen  interesting  compositions  from  the  New  Testament. 
On  the  left,  the  sayings  and  miracles  of  Christ  (without  a  beard) ;  on  the 
right,  the  history  of  the  Passion  from  the  Last  Supper  to  the  Resurrection 
(Christ  with  a  beard).  The  omission  of  the  Crucifixion  itself  points  to 
the  origin  of  these  mosaics  at  an  early  period  when  representations  of  the 
kind  were  abhorred.  —  The  last  chapel  (Cappella  delle  Reliquie)  on  the 
left,  in  which  the  marble  lining  of  the  walls  still  remains,  contains  an 
ancient  marble  episcopal  throne,  perforated  marble  screens  which  belonged 
to  the  ambo  of  the  nave,  and  on  the  wall  a  portrait  of  Justinian  in  mosaic, 
badly  restored  in  1863.  At  the  altar  are  four  porphyry  columns  from  the 
ancient  ciborium. 

At  the  corner  of  the  Via  Alberoni,  a  few  paces  to  the  S.  of 
S.  ApoUinare  Nuovo,  some  remains  of  the  Palace  of  Theodoric 
(Pi.  39;  E,  5)  are  still  extant,  unless  indeed,  as  is  perhaps  more 
probable,  these  date  from  an  addition  erected  a.s  barracks  in  the 
time  of  the  exarchs. 

The  remains  include  a  narrow  facade  with  round-arched  blind  arcades 
and  with  a  central  niche  (exedra)  in  the  upper  story  (disengaged  in  1898 
and  at  the  same  time  freely  restored),  a  colonnade  in  two  stories,  the 
bases  of  two  round  towers,  etc.  (key  kept  by  the  sacristan  of  S.  ApoUinare ; 
fee  30-60  c).  —  The  palace  was  plundered  by  Belisarius  in  539,  and  in 
784  its  treasures  of  art  and  most  of  its  columns  were  removed  to  Aix-la- 
Chapelle  by  Charlemagne.  The  palace  and  its  gardens  extended  E.  to  the 
Viale  Pallavicino,  and  down  to  1(398  the  sea  adjoined  it  at  the  back.  The 
massive  principal  tower  was  standing  until  1295. 

Still  farther  to  the  S.  is  Santa  Maria  in  Porto  (PI.  F,  6),  erected 
in  1553  et  seq.  from  the  remnants  of  San  Lorenzo  in  Cffisarea  (p.  410), 
and  embellished  with  ornamentations  from  Santa  Maria  in  Porto 
Euori  (p.  419);  it  was  restored  in  1895-96.  The  facade  dates  from 
1784.  The  church  consists  of  nave  and  aisles  with  transept  and  an 
octagonal  dome,  the  roof  borne  by  columns  and  pillars  placed  alter- 
nately. The  choir  contains  an  ancient  vase  in  porphyry.  In  the  N. 
transept  is  a  Byzantine  marble  relief  of  the  Virgin  (10th  cent.  ?). 
—  The  adjacent  Monastery,  now  a  barrack,  has  fine  Renaissance 
cloisters  and  a  handsome  loggia  of  1508-14,  the  latter  restored  in 
1903-4.  —  In  the  Ippodromo,  behind  the  church,  a  fragment  of  the 
town-wall  (6th  cent.)  is  preserved. 

About  1/2  M.  to  the  E.  of  the  Porta  Serrata  (PI.  D,  E,  1 ;  p.  417), 
beyond  the  railway,  is  the  *Mausoleum  of  Theodoric  the  Great 
(PI.  G,  1),  or  Santa  Maria  delta  Rotonda,  as  it  was  called  after  the 
remains  of  the  heretic  were  scattered  and  the  church  became  an 
orthodox  Catholic  place  of  worship.  In  the  middle  ages  it  was  the 
church  of  the  adjoining  Benedictine  monastery  and  the  Pantheon 
of  Ravenna,  but  it  was  disengaged  again  from  the  surrounding  build- 
ings in  1719.  Probably  erected  by  Theodoric  himself  (about  520), 
it  is  a  two-storied  structure  of  decagonal  shape  in  the  style  of  the 
ancient  Roman  tombs,  and  the  flat  dome,  36  ft.  in  diameter,  consists 


Environs.  RAVENNA.  5S.  Route.    419 

of  a  single  huge  block  of  Istrian  rock,  which  is  said  to  weigh  470  tons. 
Some  remains  of  the  colonnade  which  encircled  the  somewhat  re- 
treating upper  story  are  now  preserved  in  the  interior.  The  sub- 
structure is  from  time  to  time  under  wator;  the  upper  part  is  ap- 
proached by  a  double  staircase  of  marble  (1774). 

About  2  M.  to  the  N.E.  of  the  rail,  station,  on  the  Canale  Cor- 
sini  (p.  410)  and  at  the  beginning  of  the  Pineta  (p.  420),  is  the 
Vimitero  Monumentale,  laid  out  since  1879  (fine  monuments). 

About  2  M.  from  the  Porta  Nuova  (PI.  F,  7),  and  not  far 
from  the  ancient  harbour  of  Ravenna,  which  has  been  entirely 
silted  up  since  the  18th  cent.,  is  the  church  of  Santa  Maria  in 
Porto  Fuori,  a  basilica  with  open  roof,  erected  by  the  Blessed 
Pietro  degli  Onesti  ('Pietro  il  Peccatore')  in  1096  et  seq.  The  left 
aisle  contains  an  ancient  Christian  sarcophagus  with  the  bones  of 
the  founder  (d.  1119).  The  choir  and  the  side-chapels  contain 
beautiful  frescoes  by  masters  of  the  Rimini  school  (14th  cent.).  The 
massive  substructures  of  the  lofty  square  campanile  (1173-87)  are 
said  to  have  belonged  to  an  old  lightliouse  (faro).  The  church  is 
mentioned  by  Dante  (Paradise  xxi,  123). 


No  traveller  should  quit  Ravenna  without  visiting  the  church  of  Sant' 
Apollinake  in  Classe,  situated  3  M.  to  the  S.E.  of  the  Porta  Nuova.  This 
may  be  done  either  by  carriage  (with  one  horse,  there  and  back,  about 
3-4  fi'. ;  comp.  p.  409),  or  by  the  railway  between  Ravenna  and  Rimini 
(station,  Classe;  fares  60,  45,  30c.).  About  halfway,  both  the  road  and  the 
railway  cross  the  Fivmi  JUnniii  (p.  410j. 

*Sant'  Apollinare  in  Classe  fuori,  erected  under  Archbishop 
Ursicinus  (535-38)  by  Julianus  Argentarius  outside  the  gates  of 
Classis,  was  consecrated  in  549  by  St.  Maximian,  afterwards  be- 
longed for  a  long  period  to  a  Camaldulensian  monastery  (comp. 
p.  413),  and  was  restored  in  1779.  This  is  the  largest  and  best- 
preserved  of  the  basilicas  still  existing  at  Ravenna  and  was  finally 
freed  from  encroaching  buildings  in  1900-4.  It  consists  of  a  nave 
and  aisles,  with  a  vestibule  at  the  W.  end,  and  a  handsome  round 
campanile.  The  exterior  exhibits  traces  of  an  attempt  to  relieve 
the  surfaces  of  the  walls  with  indications  of  pilasters  and  arches. 
(For  unlocking  the  doors,  50  c.) 

The  spacious  Intekior  (now  almost  destitute  of  colour)  rests  on  twenty- 
four  cipoUino  columns,  and  has  an  open  roof  added  in  the  middle  ages. 
The  walls  of  the  Ifuve  and  Aisles.,  which  were  stripped  of  their  marble 
panelling  by  Sigismondo  Malatesta  in  1449,  have  been  adorned  since  the 
18th  cent,  with  portraits  of  bishops  and  archbishops  of  Ravenna,  an  un- 
broken series  of  131 ,  from  the  first  successor  of  St.  Apollinaris ,  who 
suffered  martyrdom  in  74  under  Vespasian,  to  the  present  archbishop.  Each 
aisle  contains  four  marble  sarcophagi  of  archbishops  (5-8th  cent.).  A 
niche  in  the  right  aisle  probably  once  contained  the  remains  of  St.  Apolli- 
naris. In  the  left  aisle  is  an  inscription  relating  to  the  penance  performed 
here  by  Emp.  Otho  III.  in  1001  at  the  instigation  of  St.  Romaald.  Farther 
on  is  an  ancient  capital  used  as  a  holy  water  basin.  At  the  end  of  the 
aisle  is  the  tabernacle  of  St.  Eleucadius  (91  h  cent.),  with  an  altar  of  the 
6th  century.  —  The  Nave  contains  a  marble  altar,  in  the  ancient  fashion, 


420   Route  59.  FAENZA. 

said  to  have  been  erected  by  St.  Maximian.  —  The  Cktpt  (12th  cent.),  a 
kind  of  corridor  in  which  the  remains  of  St.  Apollinaris  were  deposited 
in  1173,  has  an  ancient  bronze  window-grating,  seen  from  without.  — 
Above  the  crypt  is  the  broad  flight  of  steps  (restored  in  1723)  leading  to 
the  Tribcna,  with  the  high -altar.  The  modern  canopy  of  the  latter  is 
borne  by  foar  ancient  columns  of  black  and  white  Oriental  marble.  The 
two  ends  of  the  choir-bench  terminate  in  the  episcopal  throne  of  St.  Da- 
mianus  (688-705),  which  has  been  sawn  through.  The  apse  is  adorned  with 
Mosaics  of  the  6th  and  7th  cent,  (restored):  in  the  centre,  a  large  cross 
on  a  blue  ground  with  gilded  stars,  with  the  Transfiguration,  at  the  sides, 
Moses  and  Elias,  below  whom  ia  St.  Apollinaris  preaching  to  his  flock; 
below,  on  the  right,  are  the  sacrifices  of  Abel,  Melchisedech,  and  Abraham; 
on  the  left,  the  three  brothers  Constantine  IV.,  Heraclius,  and  Tiberius, 
bestowing  privileges  on  Archbishop  Reparatus  (ca.  671-77);  between  them 
are  the  four  archbishops  Ursicinus,  St.  Ursus,  St.  Severus,  and  Ecclesius. 
—  The  Rood  Arch  is  also  embellished  with  mosaics:  in  the  centre  a  bust 
of  Christ,  at  the  sides  the  symbolical  figures  of  the  Evangelists,  and  below 
them  twelve  apostles  (symbolized  as  sheep)  hastening  to  Christ  from  the 
towns  of  Jerusalem  and  Bethlehem. 

The  celebrated  Pine  Forest  of  Ravenna,  or  La  Pineta,  which  ex- 
isted in  the  time  of  Odoacer  and  has  heen  extolled  by  Dante,  Boc- 
caccio, Dryden,  and  Byron,  begins  about  13/4  M.  beyond  the  church 
of  S.  ApoUiiiare.  The  severe  winter  of  1879-80  and  a  conflagration 
seriously  injured  it. 

About  2  M.  to  the  S.  of  Ravenna,  on  the  bank  of  the  Ronco,  rises  the 
Colonna  di  Gaston  de  Foix,  erected  in  1557,  a  memorial  of  the  victory  gained 
on  11th  April,  1512,  by  the  united  armies  of  Louis  XII.  of  France  and 
Duke  Alphonso  I.  of  Ferrara  (at  which  the  poet  Ariosto  was  present)  over 
the  Spanish  troops  and  those  of  Pope  Julius  II.  At  the  moment  when  the 
victory  was  decided,  the  brave  Oanton  de  Foix  fell  (p.  149). 

Trajan  built  an  Aqueduct  ca.  ISi/z  31.  long  to  supply  Ravenna  with  water 
from  the  mountains  near  Teodorano.  Some  remains  of  this _  structure, 
which  was  restored  by  Theodoric,  may  be  seen  in  dry  weather  in  the  bed 
of  the  Eonco  at  San  Bwioloineo,  a  little  above  Ravenna. 

Railway  from  Ravenna  to  Ferrara,  see  p.  386;  Light  Railway  to  Forl'i 
(17  M.  in  IV2  hr.)  and  Railway  to  Rimini,  see  Baedeker^s  Central  Italy. 

59 .  From  Ravenna  (or  B ologna)  to  Florence  via  Faenza. 

94  M.  Railway  in  51/4-73/4  hvs.  (fares  17  fr.  55,  12  fr.  30,  7  fr.  90  c.). 
Carriages  are  changed  at  Castel  Bolognese  and  Faenza. 

From  Ravenna  or  Bologna  to  (2Q  M.)  Castel  Bolognese,  see  p.  409. 

31  M.  Faenza  (115  ft.;  Corona,  near  the  Piazza  Vitt.  Emanuele, 
with  trattoria,  R.  1-2  fr.,  very  fair;  Vittoria),  the  Faventia  of  the 
ancient  Boii,  a  pleasant  town  with  12,300  inhab.,  on  the  Lanione 
(the  ancient  Anemo'),  has  given  its  name  to  a  kind  of  majolica  (fay- 
ence),  the  manufacture  of  which  was  at  its  zenith  in  the  15th  and 
16th  cent,  and  has  recently  again  been  receiving  attention. 

The  spacious  Piazza  Vittorio  Emanuele  is  surrounded  by  the 
Torre  deW  Orologio,  the  Palazzo  del  Comune,  and  the  fine  Cathedral 
OF  San  Pietro.  The  latter,  a  basilica  with  nave  and  aisles,  was 
begun  in  1474  by  OiuUano  da  Maiano  of  Florence,  and  contains 
the  tomb  of  St.  Savinus,  by  Benedetto  da  Maiano  (1472). 

The  Via  Severoli  leads  to  the  right  from  the  S.W.  angle  of  the 
piazza  to  the  secularized  convent  of  Santa  Maria  dell'  Anyelo,  on  the 


BORGO  SAN  LORENZO.  59.  Route.   421 

first  floor  of  which  is  the  Pinacotbca,  with  some  good  paintings, 
chiefly  by  artists  of  the  Romagna,  a  few  sculptures,  and  some  flue 
majolica.  The  sculptures  include  a  colossal  group  of  the  Virgin  and 
the  two  SS.  John,  by  Aif.  Lombardi,  a  wooden  statue  of  St.  Jerome, 
by  Donatello,  and  a  marble  bust  of  John  the  Baptist,  probably  by 
])esiderio  da  Settignano. 

From  Faenza  to  Rimini  and  Ancona,  see  Bae(leJeer''s  Central  Italy. 

The  Railway  toFlorbnck  describes  a  wide  curve  round  Faenza, 
and  by  means  of  a  short  tiiunel  passes  from  the  plain  into  the  broad 
valley  of  the  Lamone  (p.  420),  which  it  continues  to  ascend,  fre- 
quently crossing  the  stream,  to  the  ridge  of  the  Apennines. 

39 '/2  M.  Br'myhella  (376  ft.),  a  pleasant  town  with  5600  inhab., 
situated ,  with  its  pretty  villas,  on  the  left  bank  of  the  river  on 
a  mountain -slope  crowned  with  a  castle.  The  Pieve  del  Todel 
(8th  cent.)  contains  Roman  columns. 

At  (53  M.)  Marradi  (1075  ft. ;  Locanda  il  Lamone)  the  moun- 
tains approach  nearer  to  each  other.  Between  this  point  and  Borgo 
San  Lorenzo  we  traverse  32  tunnels.  On  the  conical  mountain-peak 
to  the  right  is  a  ruined  castle.    56  M.  Fantino-Palazzuolo. 

Beyond  (59  M.)  Crespino  we  enter  the  main  tunnel  of  the  line 
(21/2  M.  long;  5  min.  transit),  which  pierces  the  ridge  of  the  Apen- 
nines beneath  the  Poggio  AUocchi  (3345  ft.).  The  highest  point  of 
the  line  (1895  ft.)  is  reached  in  its  middle.  The  line  now  rapidly 
descends  and  the  long  Monzagnano  Tunnel  (IV*  M-)  brings  us  to 
th(i  narrow,  mountain-enclosed  valley  of  the  Rozzolo,  which  we  soon 
quit  by  another  series  of  tunnels  to  enter  the  valley  of  the  Elsa  at 
the  church  of  Madonna  dei  Tre  Fiumi. 

Beyond  (671/2  M.)  Ronta  the  train  leaves  the  valley  of  the  Elsa, 
and  runs  through  a  fertile  hilly  district  to  (71  M.)Panicaglia.  The 
beds  of  several  torrents  are  spanned  by  large  bridges  and  viaducts. 
72V2  M.  Borgo  San  Lorenzo  (635  ft.;  Alb.  del  Sole)  is  the  chief 
place  (5100  inhab.)  in  the  Mugello,  a  tieautiful  wide  valley,  en- 
closed by  lofty  mountains,  on  the  W.  slope  of  the  Central  Apen- 
nines. The  valley  is  watered  by  the  Sieve,  which  joins  the  Arno  at 
Pontassieve  (p.  558). 

The  train  crosses  the  stream  a  little  before  reaching  (76  M.)  San 
Piero  a  Sieve  (p.  407),  and  then,  following  the  monotonous  valley 
of  the  Carza,  ascends  the  S.W.  longitudinal  chain  of  the  Apennines, 
which  culminates  in  the  Monte  Oiovi  (3255  ft.)  and  the  Monte  Morello 
(3065  ft.;  p.  554).  —  80  M.  Vaglla,  on  the  highroad  from  Bologna 
to  Florence  (p.  407).  Ascent  of  the  Monte  Morello,  see  p.  554  ;  of 
the  Monte  Senario,  p.  557.  —  Between  the  tunnels  we  catch  a 
momentary  glimpse  to  the  left  of  the  Monte  Senario,  with  its  convent 
(p.  557). 

A  tunnel,  21/4  M.  in  length,  now  pierces  the  E.  spur  ofthe 
Monte  Morello,  beyond  which  we  reach  (85  M.)  Montorsoli  (p.  657). 
—  Farther  on,  to  the  right,  is  a  view  of  the  valley  of  the  Mugnone, 


422   Route  5.9.  LE  OALDINE. 

•with  the  lower  part  of  the  railway  ;  in  the  clistaace,  Florence  and  its 
hills.    "We  cross  the  Mugnone  to  — 

89  M.  Le  Caldine,  on  the  left  bank.  Below  the  station  the  valley 
contracts  between  the  hills  of  Monterinaldi,  on  the  right,  and  Fiesole 
(p.  565),  on  the  left.  We  finally  descend  the  right  bank  of  the 
Mugnone  to  the  well-tilled  valley  of  the  Arno. 

941/2  M.  Florence,  see  p.  457. 


VII.  Tuscany. 


60.  Pisa 426 

61.  From  Pisa  to  Leghorn 437 

62.  From  (Genoa)  I'isa  to  Florence  via  Empoli    ....  440 

63.  From  Pisa  to  Florence  -via  Lucca  and  Pistoia     .    .    .  441 

The  Baths  of  Lucca 448 

64.  Florence 467 

a.  Piazza  della  Signoria,  Piazza  del  Duomo,  and  their 

neighbourhood 472 

b.  The  Ufflzi  Gallery 483 

c.  From   the  Piazza  della  Signoria  to  Santa  Croce   and 

the  Piazza  d'Azeglio.     National  Museum    ....        499 

d.  From  the  Piazza  del  Duomo  to  Santa  Croce  and  the 

Piazza  dell'  Annunziata.     Archfeological  Museum  .         609 

e.  From  the  Piazza  del  Duomo  to  the  Piazza  San  Marco 

and  Piazza  dell"  Indipendenza  by  the  Via  Cavour  .        517 

f.  From    the   Piazza  del   Duomo    to   San   Lorenzo    and 

Santa  Maria  Novella 525 

g.  From   the   Piazza  Vittorio   Emanuele   to   the  Piazza 

Santa  Trinita  and  the  Lungarno  Amerigo  Vespucci  .        532 
h.  Districts   of  the   city   on   the  left  bank  of  the  Arno. 

Pitti  Palace 536 

05.   Environs  of  Florence 548 

a.  Viale  dei  Colli.  San  Miniato,  518.  —  b.  Poggio  Im- 
periale.  Torre  al  Gallo,  550.  —  c.  Certosa,  551.  —  d. 
Monte  Oliveto.  Beliosguardo,  552.  —  e.  The  Cascine. 
Poggio  a  Caiano.  Villa  Careggi.  Villa  Petraia,  552.  — 
f.  Fiesole,  551.  —  g.  Monastery  of  San  Salvi,  557.  —  h. 
Vallombrosa,  558.   —   i.  Camaldoli  and  La  Verna,  560. 


Tuscany,  which  covers  an  area  of  9287  sq.  M. ,  and  contains  2,567,200 
inhab.,  is  divided  into  eight  provinces  of  very  different  sizes;  viz.  Massii- 
Carrara,  687  sq.  M.  in  area,  long  an  independent  duchy  and  afterwards 
united  with  Mi)dcna  down  to  1859;  Lucca,  575  sq.  M.  in  area,  also  long 
independent,  but  incorporated  with  the  duchy  of  Parma  from  18i4  to  1847; 
Florence,  the  largest  province,  2267  sq.  M.  in  area;  Leghorn,  the  smallest, 
about  126  sq.  M.  in  area;  and  Pisa,  Arezzo,  >Siena,  and  Orosseto.  The 
density  of  the  population,  too,  varies  greatly  in  dillorent  parts  of  the 
country.  In  the  province  of  Lucca  there  are  about  431  inhab.  to  the  square 
mile,  in  Florence  295,  in  Siena  127,  and  in  Orosseto  not  more  than  57. 
With  the  exception  of  the  coast-districts  and  the  valleys,  the  country  is 
hilly,  and  intersected  by  the  spurs  and  ramifications  of  the  Sub-Apennines. 
The  N.  part,  adjoining  the  Arno,  is  most  fertile,  the  plains  and  slopes  of 
the  hills  being  richly  cultivated.  A  strong  contrast  to  this  smiling  region 
is  presented  by  the  marshy  coast  district  below  Leghorn,  where  malarial 
fever-i  have  wielded  their  destructive  sway  since  the  depopulation  which 
took  place  in  the  middle  ages.  The  soil  of  the  inland  hill  country  is  also 
poor,  but  some  compensation  is  afforded  for  this  by  its  copper  and  other 
mines.  Tuscany,  indeed,  possesses  greater  mineral  wealth  than  any  other 
part  of  Italy,  and  to  this  circumstance  is  due  the  fact  that  it  was  earlier 
civilised  than  the  rest  of  the  peninsula. 

Tuscany  still  retains  the  name  of  its  first  inhabitants,  the  Tusci  or 
Etrusci  (Greek  Tyrrhenians).  The  excellent  iron  of  Elba  and  the  rich 
copper  mines  of  Volterra  afforded  them  materials  for  establishing  thriv- 
ing industries,  the  products  of  which  were  in  demand  far  and  wide  at  an 

27,28 


424  VII.  TUSCANY. 

early  period,  as  for  example  at  Athens  and  in  Germany,  where  nnmerons 
discoveries  of  ancient  Etruscan  iron-work  have  been  made.  The  art  of 
navigation  was  simultaneously  developed.  The  earliest  naval  battle  in 
the  western  part  of  the  Mediterranean  handed  down  by  tradition  (about 
B.C.  637) ,  was  fought  between  the  Greeks  and  Etruscans  for  the  possess- 
ion of  Corsica,  and  resulted  in  the  victory  of  the  latter,  who  thus  obtained 
supremacy  over  the  sea  still  known  as  the  Tyrrhenian.  The  League 
of  the  Etruscan  Towns,  which  extended  from  the  foot  of  the  Alps  to  the 
Bay  of  Naples,  was  also  instrumental  in  promoting  civilisation,  as  it  was 
the  means  of  diffusing  a  knowledge  of  writing,  as  well  as  of  the  mechan- 
ical arts ,  and  to  some  extent  inQuenced  even  Latium  and  Eome  itself. 
The  Etruscan  Museum  at  Florence  first  affords  us  an  opportunity  of 
becoming  acquainted  with  the  artistic  products  of  this  ancient  people  in 
bronze  and  earthenware ,  and  obtaining  an  insight  into  their  gloomy  and 
realistic  disposition.  At  Fiesole  our  attention  will  then  be  directed  to 
the  huge  stone  structures  erected  by  the  Etruscans  to  defend l.heir  frontier 
against  the  predatory  Ligurians  of  the  Apennines.  The  connection 
between  antiquity  and  modern  times  is  not  very  apparent  in  this  part  of 
the  country,  as  the  classic  soil  of  Etruria  lies  somewhat  to  the  S.  of  the 
limits  prescribed  to  the  present  Handbook.  None  of  the  twelve  great 
cities  which  divided  among  them  the  supremacy  over  the  whole  country 
lay  on  the  Arno ;  and  the  beautiful  valleys  which  now  delight  the  eye  of 
the  traveller,  being  exposed  to  the  continual  incursions  of  the  Ligurians, 
were  marshy  and  desolate  down  to  the  3rd  cent.  B.  C,  and  did  not 
prosper  till  the  time  of  the  Romans.  The  history  of  the  ancient  Etrus- 
cans may  nevertheless  appropriately  be  kept  in  view.  If  Florence  forcibly 
reminds  the  visitor  at  every  step  that  modern  Italy  owes  its  noblest  aspi- 
rations and  richest  intellectual  inheritance  to  this  city  and  this  land,  the 
student  of  history  will  be  interested  in  remembering  that  the  same  office  of 
disseminating  civilisation  among  their  compatriots  was  performed  by  the 
Etruscans  2000  years  before  the  modern  development  of  the  country. 

The  power  of  the  ancient  Etruscans  attained  its  zenith  in  the  6th 
cent  B.C.;  but  owing  to  the  want  of  political  coherence  in  their  widely 
ramified  confederation,  they  were  unable  permanently  to  maintain  their 
supremacy.  As  the  whole  of  N.  Italy  had  been  conquered  by  the  Celts, 
and  Campania  by  the  Samnites  (in  424),  so  the  Romans  and  Latins  from 
the  lower  Tiber  gradually  encroached  on  Etruria,  and  after  protracted 
struggles  wrested  city  after  city  from  the  confederation.  In  the  3i'd  cent, 
the  entire  country  thus  became  subject  to  the  authority  of  Rome.  By 
the  establishment  of  numerous  colonies,  and  abundant  grants  of  the 
Roman  citizenship,  the  country  was  gradually  Latinised,  and  the  Etruscan 
language ,  which  has  been  handed  down  to  us  in  several  thousand  still 
undeciphered  inscriptions,  was  superseded  by  Latin.  Some  of  the 
peculiarities  of  the  Tuscan  dialect,  such  as  the  slight  aspiration  of  the  c 
before  a  (chasa  for  casa),  are  thought  to  be  referable  to  the  old  language 
of  the  country,  but  this  is  matter  of  mere  conjecture.  The  traveller 
acquainted  with  Italian  will  have  little  difficulty  in  understanding  the 
people  of  the  country ,  as  the  modern  written  Italian  language  (lingua 
vulgaris,  vulgare  latinum,  lingua  ioscana)  is  mainly  derived  from  the 
dialects  of  Central  Italy,  and  particularly  that  of  Tuscany.  This  language 
is  proved  to  have  been  used  as  early  as  the  10th  cent,  by  the  educated 
classes,  as  well  as  Latin,  but  Dante  and  the  great  Tuscan  poets  and  prose 
writers  were  the  first  to  give  it  grammatical  regularity  and  precision.  Though 
closely  allied  with  the  popular  dialect,  it  is  by  no  means  identical  with  it; 
Titaliana  e  lingua  letteraria,  fu  scritta  sempre  e  non  mai  parlata'  (Foseolo). 

During  the  later  imperial  epoch  the  country  formed  the  province 
of  Tuscia,  and  was  afterwards  a  Prankish  county  under  the  same  name. 
The  extensive  domains  enjoyed  by  the  countess  Matilda,  the  friend  of 
Pope  Gregory  VII.,  were  dismembered  after  her  death  (1115),  even  before 
which  municipal  liberty  had  begun  to  spring  up  in  the  towns.  Among 
the  rival  communities  Pisa,  owing  to  its  situation,  attained  the  greatest 
maritime  power,  and  like  Milan,  Venice,  and  Genoa,  seemed  destined  to 
form  the  centre  of  a  new  state.     In  the  11th,  12th,  and  13th  centuries  it 


VII.   TUSCANY.  425 

was  by  far  the  most  important  of  the  Tuscan  cities,  and  while  the  citi- 
aens  were  commemorating  their  victories  by  the  erection  of  imposing 
baildings,  Florence  had  hardly  begun  to  exist.  Florence  was  first  indebted 
for  its  progress  to  the  fact  that  it  lay  on  the  great  route  from  the  north 
to  Rome,  and  commanded  the  passage  of  the  Arno.  Under  Otho  the 
Great  many  German  knights  settled  here,  and  at  a  later  period  several 
noble  families  traced  their  origin  from  German  ancestors.  The  enter- 
prising citizens  soon  conquered  the  central  and  upper  part  of  the  valley 
of  the  Arno,  which  the  situation  of  their  town  enabled  them  to  do,  and 
their  arms  were  afterwards  attended  with  farther  successes.  'While  the 
rest  of  Italy  was  gradually  sull'ering  dismemberment  and  throwing  ott'  the 
trammels  of  its  earlier  traditions,  Florence  was  still  quietly  developing  her 
resources,  and  was  thus  soon  enaliled  to  take  possession  of  the  inheritance 
of  the  earlier  culture  achieved  by  other  towns.  After  her  extensive 
commerce  had  in  a  great  measure  raised  her  above  the  narrow  aims  of 
her  ancient  life,  she  began  to  suffer,  like  the  rest  of  Italy,  from  the 
dissensions  of  a  number  of  wild  factions,  but  the  more  earnest  character 
of  the  citizens  enabled  them  more  etl'ectually  to  grapple  with  these  diffi- 
culties. Florence  may  be  said  to  resemble  a  man  of  unusual  strength, 
whose  physical  development  has  been  but  tardy;  and  thus  it  was  that 
she  became  the  mistress  of  Tuscany'.  (Leo).  In  1350,  among  her  other 
acquisitions,  Florence  gained  possession  of  Prato,  in  1351  of  Pisloia,  in 
1405  of  Pisa,  in  1410  of  Corloiia,  and  in  1424  of  the  harbour  of  Leghorn. 
When  at  length  the  free  constitutions  of  the  greater  part  of  Italy  were 
superseded  by  principalities,  Florence  did  not  escape  the  general  fate, 
but  the  change  took  place  in  the  most  favourable  manner  possible. 
Among  all  the  Italian  dynasties  by  far  the  first  in  rank  was  that  of  the 
Sedici,  not  only  owing  to  their  munificent  patronage  of  art  and  science, 
but  to  their  prudent  administration,  their  endeavours  to  improve  the 
lower  classes,  and  their  care  for  agriculture,  commerce,  and  the  material 
interests  of  their  subjects.  At  a  later  period  their  example  was  followed 
by  the  princes  of  Lorraine,  and  down  to  the  present  time  Tuscany  has 
enjoyed  the  enviable  lot  of  being  the  most  enlightened  and  civilised,  and 
the  best-governed  state  in  Italy.  The  fact  that  Tuscany  unreservedly 
participated  in  the  national  aspirations  for  unity  and  freedom,  and 
voluntarily  recognised  the  hegemony  of  a  comparatively  distant  and 
unsympathetic  section  of  the  Italian  race,  affords  the  strongest  possible 
evidence  of  the  earnestness  of  that  remarkable  revolution  which  led  to 
the  unity  of  Italy. 

In  1530,  with  the  aid  of  the  arms  of  Emperor  Charles  V.,  the  dynasty 
of  the  Medici  was  firmly  established  in  the  sovereignty  of  Florence.  The 
wise  Dnl-e  Cosimo  J.  (1537-74)  extended  his  dominions  considerably,  par- 
ticularly by  the  acquisition  of  Siena  in  1557,  which  was  ceded  to  him  by 
the  emperor.  In  15G9  he  obtained  from  Pope  Pius  V.,  instead  of  the  coveted 
title  of  King,  that  of  Grand  Duke  (granduca)  of  Florence.  He  abdicated 
in  favour  of  his  son  Francesco  (1574-87).  Francesco  was  succeeded  by  his 
brother  Ferdinand  I.  (1587-1609),  who  had  previously  been  a  cardinal. 
Cosimo  II.  (1609-21),  the  son  of  the  latter,  Ferdinand  II.  (1621-70),  and 
Cosimo  III.  (1670-1723)  were  the  next  princes.  With  Oiovanni  Oaslon,  who 
died  in  1737,  the  house  of  Medici  became  extinct.  In  the  wars  between 
Austria  and  Spain,  the  two  great  powers  to  which  Italy  was  subject,  Tus- 
cany formed  one  of  the  principal  objects  of  contention,  but  eventually  fell 
to  the  share  of  the  former.  The  emperor  annexed  the  country  as  a  vacant 
fief,  and  conferred  it  on  the  husband  of  his  daughter  Maria  Theresia,  the 
Duke  Francis  Sieplien  of  Lorraine  (1737-65) ,  who  by  the  Peace  of  Vienna 
(1735)  renounced  his  native  principality  of  Lorraine  in  return.  In  1745  he 
ascended  the  throne  of  Austria  as  Francis  I. ,  and  in  1763  established 
Tuscany  as  an  appanage  of  the  second  sons  of  the  emperors,  in  order 
to  prevent  its  being  governed  in  future  as  one  of  the  immediate  domin- 
ions of  Austria.  He  was  succeeded  in  1765  by  the  Grand  Duke  Leopold, 
who  reigned  on  the  same  enlightened  principles  as  his  brother  Joseph  11., 
and  was  an  active  reformer  in  the  administrative,  judicial,  educational, 
and  ecclesiastical  departments.     In  consequence  of  the  death  of  Joseph  II. 


426    Route  60.  PISA.  Practical  Notes. 

in  1790,  Leopold  was  summoned  to  the  throne  of  Austria,  and  his  de- 
parture proved  a  severe  loss  to  the  duchy.  His  son  the  Grand  Duke  Fer- 
dinand III.  was  obliged  to  renounce  Tuscany  by  the  Peace  of  Luneville 
(1801),  for  which  he  received  by  way  of  compensation  the  Archbishopric 
of  Salzburg,  and  afterwards  Wiirzburg.  Under  the  name  of  Republic, 
and  afterwards  Kingdom  of  Etruria,  the  country  continued  to  enjoy  osten- 
sible independence  down  to  1807,  when  it  was  incorporated  with  France. 
In  1814  Ferdinand  II.  was  reinstated,  and  in  1824  he  was  succeeded  by  his 
son  Leopold  II.  (d.  1870),  who  was  first  banished  by  the  revolution  of 
1849,  and  finally  by  that  of  1859.  By  the  plebiscite  of  15th  March,  1860, 
Tuscany  was  united  to  the  Kingdom  of  Italy,  then  in  course  of  formation. 


60.  Pisa. 

The  Railway  Station  (PI.  D,  7,  below;  RestaurwU,  dej.  2-3,  D.  3-4  fr., 
incl.  wine,  very  fair)  is  on  the  S.  side  of  the  town.  Travellers  who  are 
compelled  to  hasten  their  visit  may  leave  their  luggage  at  the  station,  and 
(guide  quite  unnecessary)  proceed  on  foot  (20  min.),  or  drive  (cab-tariff, 
see  below)  to  the  Piazza  del  Duomo  (shortest  route  from  the  Piazza  Vittorio 
Emanuele,  PI.  D,  7,  to  the  left  across  the  Piazza  Sant'  Antonio,  then  along 
Via  Fibonacci  and  across  the  Ponte  Solferino). 

Hotels  (bargaining  desirable;  comp.  p.  xx).  'Grand  Hotel  &  Hot.  de 
LoNDKES  (PI.  a;  D,  4),  with  lift  and  steam-heating,  R.  3'/2-7,  B.  l^/z,  d^j. 
31/2,  D.  5,  P.  8-12,  omn.  1  fr. ;  *Rotal  Victoria  Hotel  (PI.  b;  U,  4), 
with  lift,  R.  from  4,  B.  I1/2,  dej.  3,  D.  5,  pens.  iO-12,  omn.  1  fr.,  these  two 
on  the  LuDgarno  Regio,  in  a  tine  situation;  Grand  Hotel  Minerva-Ter- 
minus (PI.  d;  U,  7),  near  the  station,  with  lift  and  gardeu,  R.  3-5,  B.  IV2, 
dej.  3,  D.  5,  pens,  from  9,  omn.  '/«  '^r.,  very  fair.  —  'Gr.  Hot.  Nettuno 
(PI.  c;  D,  4),  Lungarno  Regio,  with  lift  and  good  restaurant,  R.  from  3, 
oran.  3/i  'i"-;  ALB.-RrsTOR.  la  Cervia  (PI.  e;  D,  3),  in  the  narrow  Via 
Tavoleria,  R.  from  2  fr.,  plain  but  good;  Hot.  Washington,  moderate; 
Alb.  Milano  e  Coiimercio  (PI.  f ;  D,  7),  R.  3  fr.;  Hotel  National  et  des 
Etrangeks  (PI.  g;  D,  7),  R.  11/2-21/2  fr. ;  Alb.  Venezia,  R.  2  fr.,  these  three 
near  the  station,  with  restaurant,  unpretending.  —  Pension  lii  Preie,  Lun- 
garno Regio  20,  pens.  61/2-7  fr.,  very  fair.  —  Mosquitoes  troublesome  in 
summer. 

Restaurants.     Ristor.  al  Dado,  Lungarno  Regio ;  Nettuno  (see  above). 

Cafes.  Ciardelli  (also  confectioner's).  Lungarno  Regio;  Fratelli  Pietro- 
7)iani,  Lungarno  Mediceo,  near  the  Ponte  di  Mezzo.  —  Confectioner's  &  Tea- 
Room.     Caff^  Bazzel,  Lungarno  Regio. 

Cabs.  With  one  horse:  per  drive  in  the  town  (incl.  to  or  from  the 
station)  80  c.  at  night  1  fr. ;  first  1/2  hr.  1  fr.,  each  additional  1/2  hr.  80  c. 
Each  trunk  20  e.     With  two  horses,  one- third  more. 

Steam  Tramways,  beginning  at  the  Stazione  Tram  (PI.  C,  D,  7),  run 
to  the  W.  via  San  Piero  a  Grado  to  Marina  (p.  437),  in  '/■«  ^^-  fares  80  c., 
50  c);  and  to  the  E.  to  Ponledera  (p.  440),  in  I1/4  hr. ;  a  branch,  diverging 
at  Navacchio  (p.  440),  runs  to  the  N.  across  the  Arno  to  Calci  (p.  437;  from 
Pisa  in  ca.  1  hr. 

Post  and  Telegraph  Office  (PI.  D,  4,  5),  on  the  left  bank  of  the  river, 
below  the  Ponte  di  Jiezzo. 

Physician.  Dr.  Layfield  (English),  Via  Caecilia  20.  —  Chemist,  Picci- 
nini,  Lungarno  Regio  1. 

Bookseller.    Enr.  Spoevri,  Lungarno  Regio  9. 

Money  Changers.  Matteucci,  Via  Vitt.  Emanuele ;  Supine,  Borgo  Largo 
(PI.  D,  3). 

Sculptures  in  Marble.  Barsanti,  Lungarno  Regio  2  and  Piazza  del 
Duomo  3  (also  photographs);  Rossi-CiampoUni,  Lungarno  Regio  1  and  Via 
Santa  Maria  95. 

Baths.    In  the  Piazza  San  Silvestro ;  Bagni  Ceccherini  (Pi.  B,  6),  Lungarno. 


G«o^raph .  Anstall 


"■^^--J-ii 


*-?ca;Pij.toJ3^ 


Slazione  Centra] 


History.  PISA.  60.  Route.    427 

Theatres.  Regio  Teatro  Ifuovo  (PI.  E,  4),  comparatively  good  operas, 
prices  very  moderate ;  Politeama  Pisano  (PI.  G,  6). 

English  Church  (PI.  B,  5),  Piazza  S.  Lncia;  services  at  8,  11,  and  3 
from  Oct.  to  May ;  chaplain.  Rev.  TV.  L.  if.  Law,  B.A.,  English  Church  House. 

—  Waldensian  Church,  Via  del  Museo  9. 

Chief  Attractions  (one  day).  Cathedral  (p.  428);  Campanile  (p.  430);  Sap- 
tistery  (p.  429);  Campo  Santo  (p.  430);  Museo  Civico  (p.  431).  —  Tickets  for 
the  sights  of  the  town  (Campanile  30  c,  Campo  Santo  1  fr.,  Museo  Civico 
1  fr. ;  general  ticket  for  all  three  1  fr.  60  c.)  may  be  obtained  :it  the  Royal 
Victoria  Hotel,  at  Baraanti's,  or  at  Rossi-Ciampolini's  (see  p.  426).  Arti.sts 
and  .'itndents  receive  general  tickets  (50  c.)  at  the  Archivio  di  Stato  (p.  436). 

—  The  numerous  guides  and  beggars  in  the  Piazza  del  Duomo  should  be 
ignored. 

Pisa,  a  quiet  town  with  27,200  inhab.,  the  capital  of  a  province, 
the  see  of  an  archbishop,  and  the  seat  of  a  university,  is  situated 
on  both  banks  of  the  Arno,  6  M.  from  the  sea  and  about  4  M.  from 
the  base  of  the  Monti  Pisani  (p.  437).  Its  climate  is  moist  and 
fairly  mild,  but  the  town  has  always  had  the  reputation  of  being 
rainy.  Good  drinking-water  is  brought  from  the  neighbourhood  of 
Asciano  (p.  437). 

Pisa  was  the  Pisae  of  the  ancients,  and  once  lay  at  the  confluence  of  the 
Amus  and  Atuer  (Serchio),  which  last  has  now  au  estuary  of  its  own. 
It  became  a  Roman  colony  in  B.C.  180.  Augustus  gave  it  the  name  of 
Colonia  Julia  Pisana ,  and  Hadrian  and  Antoninus  Pius  erected  temples, 
theatres,  and  triumphal  arches  here.  At  that  period  the  town  must  have 
been  a  place  of  considerable  importance,  but  all  its  ancient  monuments, 
have  disappeared  with  the  exception  of  a  few  scanty  relics  of  some 
thernise  ('Bagni  di  Kerone')  near  the  Porta  Lucca  (PI.  D,  1 ;  tablet).  At 
the  beginning  of  the  11th  cent.  Pisa  attained  the  rank  of  one  of  the 
greatest  commercial  and  seafaring  towns  on  the  Mediterranean,  and  became 
a  rival  of  Venice  and  Genoa.  It  was  chiefly  indebted  for  its  power  to  the 
zeal  with  which  it  took  the  lead  in  the  wars  against  the  Infidels.  In 
1025  the  Pisans  expelled  the  Saracens  from  Sardinia  and  took  permanent 
possession  of  the  island.  In  1030  and  1089  they  again  defeated  the  Saracens 
at  Tunis ,  and  in  1063  destroyed  their  fleet  near  Palermo.  In  1114  they 
conquered  the  Balearic  Islands ,  and  soon  afterwards  took  a  prominent 
part  in  the  Crusades.  In  the  12th  and  13th  centuries  their  power  had 
reached  its  zenith;  their  trade  extended  over  the  entire  Mediterranean, 
and  their  supremacy  embraced  the  Italian  islands  and  the  whole  of  the 
coast  from  Spezia  to  Civita  Vecchia.  In  the  intestine  wars  of  the  penin- 
sula Pisa  was  the  most  powerful  adherent  of  the  Ghibellines ,  and  there- 
fore sustained  a  severe  shock  through  the  downfall  of  the  Hohenstaufen. 
The  protracted  wars  which  the  citizens  carried  on  with  Genoa  led  to  their 
disastrous  defeat  at  Meloria  near  Leghorn  on  6th  Aug.,  1284  (p.  79),  and  the 
peace  concluded  in  1300  compelled  them  to  evacuate  Corsica  and  other 
possessions.  In  1320  the  pope  invested  the  kings  of  Aragon  with  Sardinia, 
and  Pisa  was  thus  deprived  of  this  important  island  also.  The  city  was 
farther  weakened  by  internal  dissensions,  and  fell  a  victim  to  the  ambition 
of  the  condottieri.  In  1405  it  was  sold  to  Florence,  but  on  the  arrival  of 
Charles  VIII.  (1494)  it  endeavoured  to  shake  off  the  yoke  of  its  arrogant 
neighbour.  In  1509,  however,  it  was  besieged  and  again  occupied  by  the 
Florentines,  to  whom  it  thenceforth  continued  subject. 

In  the  History  of  Art  Pisa  occupied  an  important  position  at  an 
early  period,  but  was  obliged  to  yield  up  its  artistic  precedence  earlier 
than  its  political  to  the  more  fortunate  Florence.  The  progress  of  art  at 
Pisa  was  more  rapid  than  in  the  rest  of  Tuscany,  owing  perhaps  to  the 
influence  of  its  numerous  and  handsome  ancient  monuments,  as  Roman 
forms  repeatedly  recur  in  the  buildings.  With  the  foundation  of  the 
Cathedbal  of  Pisa  began  the  dawn  of  mediaeval  Italian  art.   This  church 


428   Route  GO.  PISA.  Cathedral. 

is  in  the  old  basilica  style,  but  with  the  not  unimportant  innovation  of 
having  a  dome  over  the  centre  of  the  cross.  The  magnificent  building  opera- 
tions of  the  Pisans  continued  throughout  the  whole  of  the  12th  cent.,  and 
terminated  with  the  erection  of  the  charming  church  of  Santa  Maria  della 
Spina  (1230),  that  of  Santa  Caterina  (1253j,  and  the  Campo  Santo  (1278).  In 
the  13th  cent.  Pisa  was  also  important  as  a  cradle  of  Sculpture,  and  gave 
birth  to  Niccolb  Pisano  (ca.  120G-8O),  a  precur,sor  of  the  Renaissance.  Under 
what  influences  Niccolo  was  trained  is  uncertain,  but  there  is  a  marked 
difference  between  his  works,  with  their  somewhat  antique  cast,  and  those 
of  his  Pisan  predecessors  (such  as  the  bronze  door  of  the  cathedral  by  Bo- 
nannus).  His  son,  Giomnni  Pisano  (ca.  1250- ca.  1328),  also  noted  as  an 
architect,  was  no  less  famous  than  his  father,  whose  antique  style,  however, 
he  did  not  follow.  Keen  observation  of  nature  and  a  highly  picturesque 
style  distinguish  his  works;  his  figures  are  charged  with  passionate  move- 
ment and  great  dramatic  force.  Arnolfo  di  Camhio  (1232  ca.  1301),  pupil  of 
Niccolo  Pisano,  and  Andrea  Pisano  (1273-1348),  pupil  of  Giovanni,  form 
links  between  the  art  of  Pisa  and  that  of  Florence.  Pisa  also  boasted  of 
possessing  Painteks  at  an  early  period.  The  name  of  Oiiinta  da  Pisa  (first 
half  of  the  13th  cent.),  for  e.xample,  was  known  far  beyond  the  limits  of 
the  town,  but  his  works  are  uninteresting,  except  to  the  student  of  art. 
The  fact  that  Cimabtie  was  invited  from  Florence  to  embellish  the  apse  of 
the  cathedral,  indicates  the  decline  of  native  art.  The  execution  of  the 
frescoes  in  the  Campo  Santo  was  committed  partly  to  foreign  artists,  not 
indeed  to  Giotto  himself,  as  Vasari  asserts,  but  to  his  pupils  and  to  S. 
Tuscan  masters.  In  the  15th  cent.  Benozzo  Qozzoli  (1420-97)  of  Florence, 
a  pupil  of  Fra  Angelico,  spent  16  years  at  Pisa,  where  the  Campo  Santo 
is  graced  by  one  of  his  most  important  works  (p.  431). 

The  busiest  part  of  the  town  and  chief  resort  of  visitors  is  the 
Lungarno,  a  series  of  broad  and  handsome  quays,  and  particularly 
the  sheltered  Lungarno  Regio  (PL  C,  D,  4),  on  the  N.  side  of  the 
river.  Churches  and  buildings  in  the  Lungarno,  see  pp.  435,  436. 
—  The  river  is  crossed  by  four  bridges.  That  in  the  centre  is  the 
old  Ponte  di  Mezzo  (PL  D,  E,  4} ;  above  it  is  the  Ponte  alia  Fortezza 
(PL  F,  5);  below  it  is  the  Ponte  Solferino  (PL  B,  C,  5),  completed 
in  1875,  while  outside  the  town  is  the  Ponte  di  Ferro  (PI.  A,  B,  6). 

The  chief  boast  of  Pisa  is  the  **Piazza  del  Duomo  (PL  B,  1), 
to  which  every  visitor  first  directs  his  steps.  The  Cathedral,  the 
Leaning  Tower,  the  Baptistery,  and  the  Campo  Santo  form  a  group  of 
buildings  without  parallel,  especially  as  it  lies  beyond  the  precincts 
of  the  town  and  therefore  removed  from  its  disturbing  influences. 

The  **Cathedral,  erected  after  the  great  naval  victory  of  the  Pis- 
ans near  Palermo  (1063)  by  Busketus  and  Rainaldus  in  the  Tuscan- 
Romanesque  style,  and  consecrated  by  Pope  Gelasius  II.  in  1118, 
was  restored  in  1597-1604  after  a  fire  in  1595  which  seriously  dam- 
aged the  nave.  It  is  a  basilica  with  nave  and  double  aisles,  and  transept 
flanked  with  aisles,  104  yds.  in  length,  and3572y'is.  in  breadth  in  the 
Interior,  and  covered  with  an  elliptical  dome  over  the  crossing.  This 
remarkably  perfect  edifice  is  constructed  entirely  of  white  marble, 
ornamented  with  black  and  coloured  bands.  The  most  magnificent 
part  is  the  *Fa(jade,  which  in  the  lower  story  is  adorned  with  columns 
and  arches  attached  to  the  wall,  and  in  the  upper  parts  with  four 
open  galleries,  gradually  diminishing  in  length.  It  was  imitated  at 
Lucca,  Pistoia,  and  other  neighbouring  cities.    The  ancient  Bronze 


Baptistery.  PISA.  6U    Route.    429 

Gates,  destroyed  in  the  fire  of  1595,  were  replaced  in  1606  by  the 
present  doors,  with  representations  of  Scriptural  suhjects,  executed 
by  Oiov.  Caccini,  Pietro  FrancaviUa,  Fktro  Tacca,  and  others.  The 
only  one  of  the  old  doors  now  existing,  by  Bonannus  of  Pisa  ( 1180 ), 
representing  24  scenes  from  Scripture  history,  is  in  the  Crociera  di 
San  Ranieri,  or  S.  transept.  The  choir  is  also  imposing.  By  the 
principal  facade  is  the  sarcophagus  of  Busketus  (p.  428),  with  a 
curious  inscription. 

The  Interior  (usually  entered  by  the  last-mentioned  door  on  the  E. 
side,  opposite  the  Campanile)  is  borne  by  68  ancient  Roman  and  Greek 
columns  captured  by  the  Pisans  in  war.  (The  capitals  are  now  covered 
with  stucco.)  The  nave  has  a  flat  coffered  Renaissance  ceiling,  richly 
gilded,  of  a  date  subsequent  to  the  fire  5  the  aisles  are  vaulted,  and  above 
them  run  triforia  v/hich  cross  the  transept  to  the  choir. 

Nave.  Most  of  the  tombstones  formerly  here  have  been  removed  to  the 
Campo  Santo.  A  few  still  remain  by  the  W.  Wall,  near  the  principal 
entrance,  among  them  that  of  Archb.  Rinuccini  (d.  1582),  by  Pietro  Tacca, 
to  the  left,  and  that  of  Archb.  Giuliano  de'  Medici  (d.  1660),  to  the  right. 
The  large  altar-pieces  are  by  Andrea  del  Sarto  (Madonna  and  saints,  at  the 
3i'd  altar  on  the  right;  injured),  Allori,  Passignano,  Salimbeni,  and  other 
masters  of  the  16th  cent.;  the  intervening  pictures  are  of  the  17th  and 
18th  centuries.  The  stalls  incorporate  some  remains  of  the  upper  parts 
of  the  stalls  injured  by  the  lire  of  1595,  including  three  panels  with 
half-lengths  of  prophets,  by  Giuliano  da  Maiano  (ca.  1475).  —  To  the  left 
in  the  nave,  opposite  the  pulpit,  is  a  beautiful  inlaid  episcopal  throne, 
by  Oiov.  Bait,  del  Cervelliera,  with  representations  of  the  Adoration  of  the 
Magi,  etc.  The  beautiful  bronze  lamp  which  hangs  in  the  nave  was 
designed  by  Battisia  Lorenzi  of  Florence  (1587).  Its  swaying  is  said  to 
have  first  suggested  to  Galileo  the  idea  of  the  pendulum.  On  the  last 
pillar  of  the  nave  on  the  right,  St.  Agnes,  by  Andrea  del  Sarto.  Opposite 
is  a  Madonna  by  Perin  del  Vaga. 

Right  Transept:  1st  altar  on  the  right.  Madonna,  by  Perin  del  Vaga  and 
Sogliani.  At  the  end  is  the  gorgeous  Cappella  di  San,  Ranieri  (see  above), 
which  contains  the  sarcophagus  of  the  saint  by  Foggini  and  a  freely  restored 
mosaic  of  the  Madonna  in  the  mandorla,  by  a  Follower  of  Cimabue;  the 
relief  on  the  niche  and  the  statues  by  Francesco  Mosca  (about  1600).  The 
basin  for  holy  water  at  the  entrance  is  by  Qirol.  Eossimino  (1518). 

Choir.  The  choir-screens  are  elegant  Renaissance  works.  The  two 
angels  in  bronze  on  the  right  and  left  are  by  Giovanni  da  Bologna.  The 
Renaissance  choir- stalls,  with  apostles,  landscapes,  and  animals,  were 
carved  by  Dom.  di  Mariollo  and  others  (1478-1515).  The  high-altar,  over- 
laden with  marble  and  lapis  lazuli,  dating  from  1774,  was  restored  in  1825. 
Above  it,  Christ  on  the  Cross,  by  Giovanni  da  Bologna.  Behind  it  is  a 
lectern,  by  Matteo  Civilali.  —  The  mosaics  in  the  dome  (Christ  and  St.  John) 
are  by  Cimabve  (1302) ;  the  figure  of  the  Virgin  was  added  in  1321.  Of 
the  paintings  in  the  choir,  SS.  Margaret  and  Catharine  on  the  right  in 
front  of  the  high-altar,  and  SS.  Peter  and  .John  on  the  left,  by  And.  del  Sarto, 
are  worthy  of  inspection ;  beyond  the  high-altar ,  'Abraham's  Sacrifice 
(1541),  and  Entombment  by  Sodonia:  the  four  Evangelists  by  Beccafunii.  — 
The  sacristy  contains  a  fine  ivory  Madonna  by  Oiov.  Pisano. 

Left  Transept.  Over  the  Cappella  del  Santissimo  Sacramento,  the 
Annunciation  in  mosaic  by  a  Follower  of  Cimabi/e  (modernized).  The  altar, 
richly  decorated  with  silver,  is  by  Foggini;  behind  it,  Adam  and  Eve,  a 
bas-relief  by  Mosca,  by  whom  also  the  other  statues  were  executed. 

The  *Bapti8tery  (Battistero),  begun  in  1153  by  Diotisalvi,  but 
according  to  the  inscriptions  not  completed  till  1278,  and  with 
Gothic  additions  of  the  14th  cent.,  is  also  entirely  of  marble.  It  is 
a  beautiful  circular  structure  (100  ft.  in  diameter),    surrounded  by 


430    Route  GO.  PISA.  Leaning  Tower. 

half- columns  below,  and  a  gallery  of  smaller  detached  columns 
ahove,  and  covered  -with  a  conical  dome  (179  ft.  high,  restored  in 
1856).  It  has  four  entrances.  The  main  portal,  opposite  the  cathe- 
dral, has  elaborately  adorned  columns,  with  reliefs  of  the  Months 
to  the  left  and  sculptures  of  the  beginning  of  the  13th  cent,  over 
the  door.    Still  higher  is  a  Madonna  by  Oiov.  Pisano. 

The  Interiok  (visitors  knock  at  the  principal  entrance;  adm.  free) 
rests  on  eight  columns  and  four  piers,  above  which  there  is  a  simple 
triforium.  In  the  centre  is  a  marble  octagonal  Font,  by  Guido  Bigarelli 
of  Como  (1246),  and  near  it  the  famous  hexagonal  'Pulpit^  borne  by  seven 
colnmna,  by  Niccolb  Pisano,  1260.  The  reliefs  (comp.  pp.  xxxix,  432)  on  the 
pulpit  are:  (1)  Annunciation  and  Nativity;  (2)  Adoration  of  the  Magi;  (3) 
Presentation  in  the  Temple;  (4)  Crucifixion;  (5)  Last  Judgment;  in  the 
spandrels.  Prophets  and  Evangelists;  above  the  columns,  the  Virtues.  — 
Fine  echo. 

The  round  ""Campanile,  or  bell-tower,  begnn  by  the  architects 
Bonannus  of  Pisa  and  William  of  Innsbruck  in  1174,  and  completed 
in  1350,  rises  in  eight  different  stories,  which,  like  the  Baptistery, 
are  surrounded  with  half-columns  and  six  colonnades.  Owing  to  its 
remarkable  oblique  position,  14  ft.  out  of  the  perpendicular  (height 
179  ft.),  it  is  usually  known  as  the  Leaning  Tower.  The  question 
whether  this  peculiarity  was  intentional  or  accidental  has  frequently 
been  discussed,  but  it  is  now  pretty  generally  believed  that  the 
foundations  on  the  S.  side  sank  in  the  course  of  building,  and  that 
from  the  third  story  upwards  an  inclination  in  the  opposite 
direction  was  given.  Galileo  availed  himself  of  the  oblique  position 
of  the  tower  in  making  his  experiments  regarding  the  laws  of  gravi- 
tation. The  view  from  the  platform  is  very  beautiful,  embracing 
the  town  and  environs,  the  sea,  and  the  mouth  of  the  Amo  to  the  W., 
Leghorn  and  the  Tuscan  Islands  to  the  S.W.,  the  Apuan  Alps  to 
the  N.,  and  the  Monti  Pisani  to  the  N.E.  (best  at  sunset,  with 
brilliant  lights  over  the  Carrara  Mts.).  A  good  staircase  of  294  steps 
leads  to  the  top  (adm.,  see  p.  427).  The  tower  contains  seven 
bells,  the  heaviest  of  which,  weighing  6  tons,  hangs  on  the  side 
opposite  the  overhanging  wall  of  the  tower. 

The  **Campo  Santo,  or  Burial  Ground,  was  founded  by  Abp. 
Vbaldo  de'  Lanfranchi  in  1203  (open  on  week-days  8-4,  5,  or  6.15  ; 
tickets,  see  p.  427;  Sun.  and  holidays  10-1,  free,  2-5  p.m., 
11/2  ff-;  entrance  on  week-days  by  knocking  at  the  door  to  the  left, 
on  Sun .  and  holidays  to  the  right).  The  archbishop  brought  53  ship- 
loads of  earth  hither  from  Jerusalem,  in  order  that  the  dead  might 
rest  in  holy  ground.  The  Tuscan-Gothic  structure  which  surrounds 
the  churchyard  was  begun  about  1270  from  the  plans  of  Giovanni 
Pisano,  and  consecrated  in  1278,  but  it  was  not  finally  completed 
till  the  14th  century.  It  is  138  yds.  in  length,  57  yds.  in  width,  and 
49  ft.  in  height.  Externally  there  are  43  shallow  arcades  resting 
on  pilasters,  the  capitals  adorned  with  figures.  There  are  two 
entrances,  over  the  earlier  of  which  (to  the  right)  is  a  marble 
canopy,  with  a  Madonna  of  the  school  of  Giovanni  Pisano.    In  the 


Campo  Santo.  PISA.  60    Route.    431 

interior  the  green  quadrangle  is  surrounded  by  a  spacious  cloister, 
with  unglazed,  round-arched  windows  filled  with  beautiful  tracery. 
Three  chapels  adjoin  the  cloister ;  the  oldest  is  in  the  centre  of  the 
E.  side,  with  dome  of  later  date.  The  walls  are  covered  with  *Fres- 
coes  by  painters  of  the  Tuscan  school  of  the  14th  and  15th  cent, 
(comp.  p.  428),  unfortunately  in  bad  preservation  and  restored  by 
Botti.  Below  these  is  a  collection  of  Roman,  Etruscan,  and  mediseval 
sculptures,  these  last  being  important  links  in  the  history  of  early 
Italian  sculpture.  The  tombstones  of  persons  interred  here  form  the 
pavement. 

Paintings.  To  the  right  of  the  chapel,  on  the  E.  Wall:  Crucifixion, 
Ascension,  the  Doubting  Thomas,  and  Resurrection,  by  a  Follower  of  Giotto 
(i4th  cent.),  said  by  Vasari  to  be  Buffalmacco.    All  these  have  been  repainted. 

On  the  S.  Wall:  ''Triumph  of  Death:  to  the  left  are  represented  the 
retired  life  of  the  pious  hermit  and  the  worldliness  of  the  wealthy,  who 
on  their  way  to  the  chase  are  suddenly  reminded  by  three  open  coffins  of 
the  transitoriness  of  human  pleasures:  in  the  centre  is  Death,  invoked 
in  vain  by  the  poor  and  wretched ;  above  are  devils  bearing  away  the 
souls  of  the  deceased  to  a  fiery  punishment;  to  the  right,  the  eternal 
happiness  of  the  blessed,  who  are  seated  in  a  garden,  beneath  pomegranate 
trees;  above  are  angels  with  the  souls  of  the  redeemed.  Next  are  the 
'Last  Judgment  (attitude  of  the  Judge  celebrated  and  imitated  even  by 
Fra  Bartolomeo  and  Michael  Angelo)  and  Hell  (lower  half  entirely  repainted). 
Those  three  are  attributed  by  Vasari  to  Andrea  Orcagna,  but  modern  critics 
believe  that  they  were  executed  about  1350  by  Pigan  masters  (perhaps 
Franc.  Traini).  The  following  fresco,  representing  the  Life  (temptations 
and  miracles)  of  the  holy  hermits  in  the  Tbeban  wilderness,  which  Vasari 
ascribes  to  Pietro  Loremelti  of  Siena,  is  by  an  unidentified  hand.  Above 
the  entrance  is  a  Madonna  'in  excelsis'  by  F.  Traini.  —  Between  the  two 
entrances,  the  life  of  St.  Rainerus,  the  tutelary  saint  of  Pisa.  The  four 
wpper  scones  (conversion  from  a  worldly  life,  journey  to  Palestine,  victory 
over  temptation,  retirement  to  a  monastery)  were  completed  by  Andrea 
da  Fireme  in  1377  (of  which  there  is  documentary  proof,  though  Vasari 
attributes  them  to  Simons  Martini  of  Siena).  The  four  lower  and  better- 
executed  scenes  (return  from  Palestine,  miracles,  death,  and  removal  of 
his  body  to  the  cathedral  of  Pisa,  the  last  much  injured)  were  painted 
by  Antonio  Veneziano  in  1386-7.  —  Then,  above,  scenes  from  the  life  of 
St.  Ephesus  (who  as  a  Roman  general,  fighting  against  the  heathens, 
receives  a  flag  of  victory  from  the  Archangel  Michael,  but  is  afterwards 
condemned  and  executed)  ;  below,  scenes  from  the  lite  of  St.  Potitus, 
admirably  portrayed  by  Spinello  Aretino  in  1391,  but  now  almost  obliterated. 
—  Lastly,  the  history  of  Job,  by  Francesco  da  Volterra  (erroneously  attributed 
to  Giotto),  begun  in  1370,  in  bad  preservation. 

On  the  W.  Wall  no  paintings  of  importance. 

On  the  N.  Wall  the  history  of  Genesis  :  first  the  Creation  (God  the 
Father  holding  the  world  in  both  hands,  'il  mappamondo');  then  in  the 
upper  series,  Creation  of  Man ,  the  Fall,  Expulsion  from  Paradise,  Cain 
and  Abel,  Building  of  the  Ark,  Deluge,  and  Noah's  Sacrifice,  by  Pietro 
di  Piircio  of  Orvieto,  about  1390  (erroneously  attributed  by  Vasari  to 
Buffalmacco).  —  The  lower  series  and  all  the  following  paintings  on  the  N. 
wall  are  by  Benozzo  GozzoU  of  Florence  (1469-85),  twenty-three  Representations 
from  the  Old  Testament,  admirably  executed  'a  tempera'  and  important  as 
illustrations  of  the  manners  of  the  painter's  contemporaries  :  Noah's  Vintage 
and  Drunkenness  (with  the  '  Vergognosa  di  Pisa\  or  scandalised  female 
spectator),  the  Curse  of  Ham,  the  Tower  of  Babel  (with  portraits  of  con- 
temporary celebrities,  Cosimo  de'  Medici,  his  son  Piero,  and  his  grand- 
sons Lorenzo  and  Giuliano),  the  History  of  Abraham,  Isaac,  Jacob  and 
Esau,  Joseph,  Moses  and  Aaron,  Fall  of  the  Walls  of  Jericho,  History  of 
David,  Solomon  and  the  Queen  of  Sheba;  these  last  much  injured.     'The 


432    Rnute  60.  PISA.  Campo  Santo 

first  of  those  frescoes,  the  Vintage,  is  the  most  pleasing  composition,  and 
the  most  striking  one  for  the  richness  of  its  episodes,  its  architecture,  and 
its  landscape.  In  the  midst  of  the  short-comings  of  the  others,  however, 
Benozzo  has  moments  of  luck,  and  they  reveal  occasional  pretty  episodes 
and  fair  bits  of  composition'  (C.  <t  C).  Benozzo's  tomb  is  in  the  pave- 
ment, below  the  Nereid  Sarcophagus,  No.  XXVIII. 

Sculptures  and  Monuments.  W.  End.  In  the  corner  to  the  left,  Etruscan 
vase  on  a  column.  Then,  No.  7.  Ancient  palm  frieze  with  dolphins,  the 
back  carved  in  the  13th  century.  —  XI.  Ancient  sarcophagus,  perhaps 
originally  a  balh.  —  Monument  of  Carlo  Mossotti  (1791-1863),  the  natural 
philosopher,  by  Dupri.  Behind,  Monument  (No.  46)  of  Count  della  Gherar- 
desca  (d.  1321)  and  ^Monument  of  Emp.  Henry  VII.  of  Luxembourg,  pro- 
tector of  Pisa  as  a  parti/.an  of  the  Ghibellines  (d.  1313  at  Kuonconvento), 
by  Tino  di  Camaino  of  Siena  (1315),  originally  erected  in  the  apse  of  the 
cathedral.  —  On  the  wall,  the  chains  of  the  ancient  harbour  of  Pisa,  cap- 
tured by  the  Genoese  in  1362;  parts  of  them  were  given  to  the  Floren- 
tines, who  suspended  them  at  the  entrance  of  the  Baptistery  at  Florence, 
but  were  restored  to  the  Pisans  in  1848;  the  second  chain  was  restored 
by  the  Genoese  in  1860.  —  LL.  Sarcophagus  of  Bishop  Ricci  (d.  1418),  by 
Andrea  Gwardj  of  Florence.  —  52.  On  a  broken  column,  late-Greek  marble 
vase  with  fine  Bacchanalian  representation,  from  which  Niccolo  Pisano 
borrowed   the   figure   of  the  High  Priest   on  the  pulpit  in  the  Baptistery. 

N.  Side.  "56.  Attic  relief  from  a  tomb,  representing  a  seated  lady 
with  her  attendant  (much  injured).  —  Architrave  with  sculptures  of  the 
11th  cent.  (History  of  St.  Sylvester  and  Baptism  of  Constantine).  —  *Ma- 
donna,  by  Giovanni  Pisano.  —  Fine  Roman  sarcophagus  with  centaurs  and 
Bacchantes.  —  The  Cappella  Amannati  contains  remains  of  a  large  fresco 
of  the  school  of  Oiotio,  from  the  church  of  Santa  Maria  del  Carmine  at 
Florence,  which  was  destroyed  by  fire.  On  the  left  the  tombstone  of  Ligo 
degli  Amannati  (d.  1359),  by  Cellino  di  Nese.  —  Farther  on:  *78.  Head  of 
Achilles  (replica  at  Munich).  —  Roman  sarcophagus  (with  reliefs  of  Cupid 
and  Psyche),  on  which  are  placed  two  beautiful  ancient  sculptures  (head  of  a 
woman,  male  torso)  and  a  relief-sketch  of  the  Pisan  School.  —  XIX.  Roman 
sarcophagus  with  Bacchanalian  scene,  upon  it  the  alleged  bust  of  Isotta, 
wife  of  Sigismondo  Malatesta  of  Rimini  (15th  cent.).  —  XXI.  'Late-Roman 
sarcophagus  with  the  myth  of  Hippolytus  and  Phsedra,  from  which,  accord- 
ing to  Vasari,  Niccolo  Pisano  copied  several  figures  for  his  pulpit;  the 
remains  of  the  Countess  Beatrix  (d.  1076),  mother  of  the  celebrated  Matilda, 
were  subsequently  deposited  here.  —  In  the  Cappella  Aulla  are  a  coloured 
terracotta  altar  by  Aug.  Urhanias  (1520),  in  the  style  of  Giov.  della  Robbia, 
and  the  tombs  of  two  bishops  of  the  14th  century.  —  XXVI.  Roman  sar- 
cophagus with  relief  of  a  wedding.  —  98.  Several  Egyptian  antiquities.  — 
XXIX.  Roman  sarcophagus  with  Bacchanalian  reliefs  and  the  death  of 
Pentheus  on  the  cover.  —  116.  Etruscan  urn,  with  contest  with  a  monster 
(mutilated).  —  125.  Sitting  figure  of  the  Emp.  Henry  VII.,  surrounded  by 
four  of  his  counsellors  (belonging  to  the  monument  mentioned  above).  — 
120.  Etruscan  urn,  with  the  death  of  Priam.  —  XXXI.  Roman  sarcophagus 
with  the  hunt  of  Meleager;  above  it,  an  old  relief  of  the  harbour  of  Pisa 
and  a  coat -of- arms  of  1157.  —  XXXII.  Roman  sarcophagus  with  a  battle 
of  barbarians. 

E.  End.  Griffin  in  bronze  with  Cuflc  inscriptions.  —  By  the  wall,  tomb 
of  Ph.  Dezio  (d.  1535),  by  Stagio  Stagi.  —  Monument  of  Count  Mastiani 
with  the  sitting  statue  of  his  mourning  widow  (Tlnconsolabile'),  by  Sar- 
toUni  (1842).  —  Monument  of  the  singer  Angelica  Catalani  (d.  at  Paris  1849), 
—  By  the  wall,  128.  Etruscan  altar  with  rams'  heads. 

S.  Side.  152,  154.  Inscriptions  in  honour  of  Caius  and  Lucius  Caesar, 
grandsons  of  Augustus.  —  153,  166,  168.  Roman  milestones.  —  XXXIX, 
Roman  sarcophagus  on  which  are  placed  busts  ofCa?sar(?),  Hadrian,  and 
Agrippa,  the  last  in  basalt.  —  176.  Roman  sarcophagus,  with  Amoretti  in 
the  circus;  on  it  is  placed  a  head  of  Venus  (freely  restored).  —  XLI.  Roman 
mosaic  found  near  the  cathedral  in  1860.  —  186.  Roman  sarcophagus  with 
circus  games  and  sculptures  of  the  13th  century.  —  XLIl.  Etruscan  urns, 
with  Alcestis  in  the  middle.  —  Beyond  the  side-entrance,  ornamented  slabs 


Piazza  dei  Cavnlieri.  PISA.  60.  Route.    4od 

iif  the  12th  century.  —  III.  Roman  sarcophagus-relief  with  hunting-scenes. — 
V.  Early-Christian  sarcophagus  with  a  representation  of  the  Good  Shepherd. 
—  VI.  Roman  sarcophagus ,  on  which  are  •  placed  statuettes  of  the  Pisan 
School  (l-4th  cent.).  —  VIII.  Fragment  of  a  sarcophagus  with  Baccha- 
nalian representation.  —  23.  Emblems  of  the  Evangelists  (13th  cent.).  — 
Towards  the  entrance:  27.  Unfinished  statuette  of  the  Virgin,  of  the  school 
of  Oiov.  J'isano.  —  Monument  of  the  oculist  Andrea  Vacca  (d.  1826)  by 
I'horvildsen:  Tobias  curing  his  father's  blindness.  —  Opposite,  LIV.  Imi- 
tation of  a  Roman  sarcophagus  with  lions,  by  Bidmntis  ([2th  cent.).  —  To 
the  left :  32.  Architrave  with  Christ  and  the  emblems  of  the  Evangelists, 
by  Boriusamicus  (12th  cent.).  —  CC.  Monument  of  the  author  Franc.  Al- 
garotti  (d.  17G4),  erected  by  order  of  Frederick  the  Great.  —  In  the  garden 
between  the  arcades  are  two  ancient  well-heads. 

A  visit  to  the  Campo  Santo  by  moonlight  is  very  impressive  (notice 
must  be  previously  given  to  the  custodian). 

The  hurried  traveller  will  not  devote  much  time  to  the  other 
works  of  art  at  Pisa ,  but  he  will  he  rewarded  by  taking  a  short 
walk  through  the  town  in  order  to  obtain  an  idea  of  the  extent  to 
which  building  enterprise  was  carried  at  Pisa  in  the  middle  ages. 

Following  the  Via  dell'  Arcivescovado  to  theE.  from  the  Piazza 
del  Duomo,  and  taking  the  Via  della  Faggiola,  on  the  right,  we 
reach  the  Romanesque  church  of  San  Sisto  (PI.  C,  3),  founded  by 
the  Pisans  in  10S9.  It  contains  a  number  of  ancient  columns  of 
marble  and  granite.  The  church  was  frequently  used  as  a  place  of 
assembly  by  the  Great  Council  of  Pisa. 

The  central  part  of  ancient  Pisa,  and  the  forum  of  the  republic, 
is  the  Piazza  uei  Cavalieei  (PI.  D,  31,  formerly  Piazza  degli  An- 
zinni,  a  few  yards  to  the  E.  of  San  Sisto.  In  this  piazza,  which  was 
remodelled  in  the  16th  and  17th  centuries,  rises  — 

Santo  Stefano  ai  Cavalieri,  the  church  of  the  knights  of  the  Order 
of  St.  Stephen  (founded  in  1661),  built  in  1565-96  from  designs  by 
Vasari;  facade  designed  by  Buontalenti.  It  contains  Turkish  trophies 
on  the  right  and  left  of  the  door,  and  ceiling-paintings  of  the  battle 
of  Lepanto  (1571)  and  other  victories  over  the  Turks,  by  Cristofano 
AUori,  Jacopo  da  Empoli,  and  others.  At  the  second  altar  to  the 
left  is  a  Nativity  by  Alessandro  AUori  (1564).  Behind  the  high- 
altar  is  a  gilded  copper  bust  of  St.  Lussorius,  by  Donalello  (ca.  1429). 

The  Palazzo  Conventuale  dei  Cavalieri,  adjoining  the  cLtirch 
on  the  left,  altered  by  Vasari  in  15C0,  is  now  a  school;  above  the 
windows  are  bnsts  of  six  masters  of  the  order.  In  front  of  the  build- 
ing a  marble  Stalue  of  Orand-Duke  Cosimo  /.,  designed  by  Giov. 
da  Bologna  and  execnted  by  Pietro  Francavilla  (1596).  Beside  it 
once  stood  (down  to  1655)  the  ill-famed  'Tower  of  Hunger',  pro- 
perly Torre  dei  Gualandi  alle  Setie  Vie,  in  which  the  Ghibelliue 
Archbp.  Ruggieri  degli  Ubaldini  caused  the  Guelph  Count  Ugoliuo 
della  Gherardesca  with  his  sons  and  nephews  to  be  starved  to  death 
in  1288,  as  described  by  Dante  in  the  83rd  canto  of  his  Inferno. 

On  the  right,  in  the  Via  San  Frediano,  a  little  to  the  S.,  is 
the  Romanesque  church  of  San  Frediano  (V\.  D,  3  ,•  12th  cent. ), 
with  aiu'ient  columns  in  the  interior,  as  important  as  San  Pierino 


434    Route  60.  PISA.  North  East  Quarters. 

(p.  436)  for  a  critical  study  of  Pisan  ecclesiastical  architecture.  In 
tlie  Via  Veutinove  Maggio  is  the  — 

University  (La  Sapienza;  Pi.  D,  4),  a  large  edifice  of  1493, 
extended  in  1543,  with  a  handsome  early-Renaissance  court.  The 
Library  contains  120,000  vols,  and  several  valuable  MSS.  (including 
the  famous  Statute  di  Pisa,  or  fundamental  law  of  the  city). 

The  University,  mentioned  in  history  as  early  as  the  12th  cent.,  and 
extended  by  Cosimo  I.  in  1542,  is  now  provided  with  a  staff  of  about  60 
professors,  and  is  attended  by  11<X)  students.  The  celebrated  Oalileo  (p.  436) 
was  appointed  professor  of  mathematics  here  in  1610.  —  Connected  with  it 
are  the  Musevm  of  Xalural  History  (entrance.  Via  del  Museo  6),  founded  in 
1586,  chiefly  illustrative  of  the  ornithology  and  geology  of  Tuscany,  and 
the  Botanical  Garden  (PI.  B,  C,  2,  3;  ring  at  the  gate  in  the  Via  Solferino, 
opposite  the  barracks),  one  of  the  oldest  in  Italy,  founded  in  1547,  remod- 
elled in  1563  by  the  celebrated  Cesalpino.,  and  transferred  in  1595  to  the 
present  site,  which  was  laid  out  by  Giuseppe  Benincasa.  Fine  cedars  of 
Lebanon. 

The  Via  San  Lorenzo,  beginning  behind  Santo  Stefano  ai  Cava- 
lieri  (p.  433),  leads  to  the  N.E.  Quabteb  of  the  town.  To  the  left 
lies  the  pleasant  Piazza  di  Santa  Caterina,  shaded  with  plane-trees, 
and  embellished  with  a  Statue  of  Grand-Duke  Leopold  1.  (d.  1792), 
in  Roman  garb,  by  Pampaloni  (1832).  At  the  N.E.  angle  of  this 
piazza  rises  the  church  of  — 

Santa  Caterina  (PI.  E,  2),  erected  about  1253,  with  an  interest- 
ing facade  in  the  Pisan-Gothic  style. 

Interior.  To  the  left  of  the  entrance,  the  monument  of  Archbishop 
Simone  Saltarelli,  by  Nino  Pisano.,  1342.  Altar-piece  (3rd  on  the  left)  of 
St.  Thomas  Aquinas,  with  his  glory,  by  Francesco  Traini,  1341.  In  the 
1st  chapel  to  the  right  of  the  choir,  a  Madonna  with  SS.  Peter  and  Paul 
by  Fra  Bartolomeo  and  Mariotto  Albertinelli  (1511),  and  a  marble  group  of 
the  Annunciation  by  Nino  Pisano. 

From  the  Via  San  Lorenzo  we  turn  to  the  right  through  the  Via 
Santa  Elisabetta  to  the  Piazza  San  Francesco. 

San  Francesco  (PI.  F,  3),  a  Gothic  convent-church  of  the  13- 
14th  cent.,  with  a  handsome  campanile,  was  restored  in  1900. 

Interior.  The  choir  is  adorned  with  ceiling-frescoes  by  Taddeo  Oaddi 
(1342).  —  The  ceiling-frescoes  in  the  sacristy  are  by  Taddeo  di  Bartolo 
(1397:  Death  and  Assumption  of  the  Virgin). 

The  chapter-house,  to  the  E.  of  the  first  cloister-walk  on  the  left  side 
of  the  church,  is  embellished  with  valuable  but  much  damaged  frescoes  by 
Niccolb  di  Fietro  Gerini  (1392;  Scenes  from  the  Passion). 

The  rest  of  the  monastery  of  S.  Francesco  is  fitted  up  as  the 
Museo  Civico  (PI.  F,  2j,  and  chiefly  contains  works  of  the  earliest 
Tuscan  painters  and  sculptors.  It  is  open  daily,  10-4  (comp.  p.  427); 
good  catalogue  (1905),  1  fr.  Entrance  from  the  garden  on  the  N. 
side  of  the  Piazza  San  Francesco. 

The  Second  Cloister -Walk,  which  we  enter  first,  contains  fragments 
of  Pisan  sculptures  of  the  14-i5th  centuries.  —  In  a  side-room  beside  the 
entrance  are  preserved  the  remains  of  the  old  "Cathedral  Pulpit,  which  was 
executed  by  Giov.  Pisano  and  his  pupils  in  1302-11,  taken  to  pieces  after 
the  burning  of  the  church,  and  partly  destroyed.  Among  the  relics  are : 
in  front.  Four  cardinal  virtues,  above  which  is  the  city  of  Pisa,  with  two 
sucklings  as  a  symbol  of  fertility;  adjoining,  Evangelists,  above,  Christ; 
behind,  Two  lions  and  a  Column  with  allegorical  figures  of  Faith,  Hope, 


Lungamo  (right  bank).         PISA.  60.  Route.   435 

and  Charity,  and  on  the  base,  alto-reliefs  of  the  seven  liberal  art.s ;  on  the 
entrance- wall,  Archangel  Michael,  Hercules;  on  the  side -walls.  Seven 
reliefs  from  the  Passion.  —  In  a  locked  room  on  the  E.  side  of  the  cloisters 
Garibaldi's  travelling-carriage  (18(16).  ■ 

A  staircase  leads  from  the  S.E.  angle  of  the  cloisters  (opposite  the 
entrance)  to  the  Museum.  In  the  Salone  degli  Arazzl  are  tapestries  from 
Florence  and  Flanders  llt)-17th  cent.)  and  choir-books  of  the  Pisan,  Sienese, 
and  Florentine  schools  (14-15th  cent.).  —  Room  1  (to  the  left):  2.  1! oil  with 
miniatures  upon  parchment  (ilth  cent.);  A.  Ornamental  portions  of  the 
old  Fascia  or  Cintola  del  Duomo,  a  long  scarf  of  damask  that  on  high 
festivals  was  hung  all  round  the  cathedral;  8.  Embroidered  antependium, 
from  the  cathedral  (132o);  14.  So-called  Pluvial  of  Pope  Gelasius  II., 
but  more  probably  a  Pisan  work  of  the  14th  cent.;  15.  Kcliquary  uf  ivory 
filth  cent.).  —  In  the  following  rooms  are  paintings  of  the  13-16th  cent- 
uries. R.  II.  17.  Qiunta  da  Pisa,  Crucifixion  (school-piece;  13tkcent.).  — 
R.  III.  16-23.  Simone  Martini,  Parts  of  the  high-altar  of  Santa  Gaterina 
(1320);  39.  Bruno  di  Giovanni  (liih  cent.),  St.  Ursula  as  protector  of  Pisa.  — 
R.  IV.  19.  Franc.  Traini,  The  Saviour  with  St.  Oominic,  from  S.  Gaterina 
(1344).  —  R.  V.  6.  Barnaba  da  Modena  (14th  cent  ),  Madonna  in  glory,  with 
angels;  '2'2.  Taddeo  di  Bartolo,  St.  Dominic  (on  the  back,  Crucifixion);  -26. 
Oentite  da  Fahriano,  Madonna.  —  R.  V'l.  10.  Florentine  School  (?),  Triumph 
of  Emp.  Vespasian  (on  the  lid  of  a  chest);  21.  Dom.  Ghirlandaio,  SS.  Sebas- 
tian and  Rochus ;  Benozzo  Gozzoli,  23.  Madonna  enthroned,  with  four  saints, 
24.  St.  Anne,  Madonna,  and  Child  (studio-pieces);  27.  Masaccio,  Half-figure 
of  St.  Paul,  fragment  of  an  altar-piece  from  Santa  Maria  del  Carmine  in 
Florence  (142G).  —  Corner  Room:  Bruges  School,  St.  Catharine  (ca.  14S0).  — 
R.  Vll.  6.  Raffaellino  del  Oarbo,  Madonna  enlhroned,  with  four  saints; 
Sodoma,  'Madonna  and  saints  (1542).  —  R.  VIII.  'Gnido  Reni,  Earthly  and 
heavenly  love.  —  R.  IX.  8.  Rigaud,  Portrait.  In  a  side-room  to  the  left, 
Pisan  coins  and  seals.  —  R.  X.  Fragments  of  .';culpture  from  San  Giovanni 
(14lh  cent.),  the  facade  of  the  cathedral  (ll-r2tb  cent.),  and  Santa  Maria 
della  Spina  (14th  cent.).  In  a  side-room  to  the  right,  Relics  and  represent- 
ations of  the  'Giuoco  del  Ponte'  (bridge-game),  an  ancient  Pisan  game,  last 
played  in  1807  at  the  Ponte  di  Mezzo.  —  R.  XI  (1.).  Florentine  tapestry 
(16-17th  cent.);  two  female  costumes  of  Florence  (16th  cent.);  no  number, 
German  School  (IStb  cent.),  Portrait  of  Countess  Adelaide  Canossa.  —  R.  XII 
(entered  through  R.  X.).  Pisan  and  other  sculptures  (12-16th  cent.),  including 
interesting  wooden  statues  of  the  Annunciation,  by  Nino  Pisano,  and  a 
JIadonna  in  marble  of  the  Pisan  School  (ca.  1390).  —  R.  XIII.  Sketches  for 
paintings  in  the  cathedral  (17-19th  cent.). 

Ill  and  near  the  Lungarno  are  several  other  interesting  build- 
ings, with  which  we  may  terminate  our  walk. 

San  Niccola  (PI.  C,  4),  founded  about  the  year  1000  by  Count 
Hugo  of  Tuscia  as  a  Benedictine  abbey,  has  an  obliquely  placed 
Campanile,  which  contains  an  admirable  ■winding  staircase  ascribed 
to  Niccolb  Pisano.  —  The  Piazza  in  front  of  the  church  is  adorned 
with  a.  Statue  of  Ferdinand  I.,  by  a  pupil  of  Giov.  da  Bologna  (1595). 

In  the  Lungarno  Regio  (p.  428)  arc  the  Palazzo  Lanfreducci 
(PI.  6;  C,  D,  4),  now  Upezzinghi,  a  baroque  building  ascribed  to 
Cosimo  Payliani,  and  (No.  5)  the  *Palazzo  Agostini  (Pi.  D,  4),  a 
line  Gothic  brick  edifice  of  the  14th  century. 

A  few  paces  to  the  N.  of  the  Piazza  Garibaldi  (PI.  D,  E,  4),  in 
the  busy  Via  del  Borgo,  rises  — 

San  Micbele  in  Borgo  (PI.  E,  4),  a  flat-roofed  basilica,  prob- 
ably of  the  11th  cent,  but  much  modernized.  The  facade,  which  is 
said  to  have  been  designed  by  Niccolb  Pisano  (but  more  probably  by 
his  pupil  Fra  iruglielino),  was  partly  rebuilt  in  the  Gothic  style. 


436    Route  60.  PISA.  Lungarno  (left  bank). 

The  mosaic  pavement  in  San  Pierino(F\.  E,  4;  12-13tli  cent.), 
near  the  Piazza  Cairoli,  is  Romanesque,  and  some  of  the  columns  are 
antique.  —  The  narrow  Via  delle  Belle  Torri,  leading  to  the  E.  from 
the  Piazza  Cairoli,  still  preserves  a  distinctly  mediaeval  impress. 

The  Lungarno  Mediceo  leads  past  the  Palazzo  Lanfranchi  (now 
Toscanellf),  erroneously  attributed  to  Michael  Angelo,  and  occupied 
by  Lord  Byron  in  1822,  and  the  Piazza  Mazzini  (PI.  F,  4,  5)  to  the 
Porta  alle  Piagge  (see  below). 

On  the  Left  Bank  of  the  Aeno,  near  the  Porta  a  Mare,  at  the 
W.  end  of  the  town,  is  situated  — 

*Saii  Paolo  a  Ripa  d'Arno  (PI.  B,  6),  a  basilica  with  nave 
and  aisles,  dating  in  its  present  form  from  the  13th  cent.,  with  a 
fine  facade  embellished  with  three  rows  of  columTis,  the  finest  at 
Pisa  after  that  of  the  cathedral.  The  interior  is  adorned  with  badly 
preserved  frescoes  of  1400. 

Farther  to  the  E.,  beyond  the  Ponte  Solferino  (p.  428),  rises  — 

Sauta  Maria  della  Spina  (PI.  C,  5),  so  called  from  a  fragment 
of  the  veritable  'Crown  of  Thorns'  once  preserved  here,  an  elegant 
little  church  in  the  French  Gothic  style,  erected  in  1230  for  sailors 
about  to  go  to  sea.  It  was  enlarged  in  1323  and  adorned  with 
sculptures  by  pupils  of  Giovanni  Pisano  and  by  Nino,  the  son  of 
Andrea  Pisano.  The  interior  is  plain  (key  kept  at  the  opposite 
house ;  fee  30  c).  The  church  was  restored  in  1872  and  raised  by  3  ft. 

In  the  Lungarno  Gambacorti,  near  the  Ponte  di  Mezzo  (see 
p.  428;  PL  D,  4),  are  situated  the  Loggia  de'  Banchi(Pl.  4;  D,  6), 
erected  in  1605  by  Buontalenti,  and  the  handsome  Palazzo  del 
Comune  (PI.  5 ,  D  5 ;  formerly  Gambacorti}.  The  latter  contains 
the  Archivio  di  Stato,  or  the  city-archives,  which  comprise  about 
16,000  parchment  charters  (one  granted  by  Frederick  Barbarossa  in 
1162,  one  by  Richard  Cceur-de-Lion  in  1192,  and  others  of  very 
early  date);  entrance  at  Via  Pietro  Toselli  2;  open  10-4. 

The  octagonal  church  of  Santo  Sepolcro  (PL  E,  5),  of  the  12th 
cent.,  is  now  largely  restored.  —  At  the  end  of  the  Lungarno  Galileo, 
opposite  the  Ponte  alia  I'ortezza  (PI.  F,  5),  is  a  passage  leading  to 
the  house  (PI.  F,  6)  in  which  the  astronomer  Galileo  Galilei  (1564- 
1642)  was  born. 

The  church  oi  San  Domenico  (PL  D,  7),  at  the  S.  end  of  the 
Via  Vitt.  Emanuele,  which  leads  from  the  Ponte  di  Mezzo  to  the 
railway-station,  contains  an  altar-piece  (Crucifixion)  by  Benozzo 
Gozzoli.  The  suppressed  monastery  adjoining  has  several  frescoes 
by  the  same  master. 


Environs.  Outside  the  Porta  alle  Piagge  (see  above)  the  right  bank  of 
the  Arno  is  bordered  by  tlie  pretty  gardens  of  the  Viale  Umberto  Primo. 
Pretty  view  (to  the  left)  of  the  Monti  Pisani  (p.  437).  —  Outside  the  Porta 
Nuova  (PI.  A,  B,  1,  2),  between  the  Maltraverso  Canal  and  the  right  bank 
of  the  Arno,  about  3  M.  to  the  W.,  is  situated  the  Cascine  Vecchie  di  San 


Excursions.  PISA.  60.  Route.    437 

Rossore,  a  farm  founded  by  tlie  Medici,  with  fine  plantations  of  pines  and 
oaks,  now  a  royal  shooting-lodge  (generally  accessible  with  perniesso  only). 
Dromedaries  and  wild  swine  are  kept  here  for  breeding.  —  On  the  coast, 
about  l'/2  M-  farther  on,  lies  Oombo,  with  a  royal  chateau,  commanding  a 
beautiful  view.  The  poet  Shelley  was  drowned  here  on  7th  July,  1822.  His 
remains  were  afterwards  burned  in  presence  of  Byron,  Leigh  Hunt,  and 
Trelawney,  aud  the  ashes  deposited  near  the  pyramid  of  Cestius  at  Rome. 

An  interesting  excursion  may  be  made  to  Qi  M.)  Marina  I  steam-tramway 
see  p.  426).  The  chief  intermediate  station  on  the  steam-tramway,  which 
follows  the  hisihroad,  sbaded  with  plane-trees,  skirting  the  S.  bank  of  the 
Arno,  is  (3'  2  31 )  San  Piero,  whence  we  may  visit  the  Cascine  jVuDve  di  Han 
Rossore  ('/s  M.  to  the  X.,  on  the  opposite  side  of  the  river)  and  the  ancient 
basilica  of  -San  Piero  a  Grado,  occupying  the  spot,  according  to  tradition, 
where  St.  Peter  first  landed  in  Italy.  It  was  formerly  much  frequented  as 
a  pilgrimage-church.  The  W.  apse  is  a  relic  of  the  earliest  church  (before 
420),  while  the  E.  apse  dates  from  the  beginning  of  the  i2th  (?)  century.  The 
interior  contains  beautiful  antique  columns  and  faded  frescoes  (t4th  cent.), 
with  scenes  from  the  lives  of  SS.  Peter  and  Paul  and  ancient  portraits  of  popes. 
The  ancient  estuary  of  the  Arno,  with  the  harbour  of  Pisa,  must  once  have 
been  at  this  spot,  before  the  present  coast  was  formed  by  alluvial  deposits. 
—  The  simple  but  rising  bathing-resort  of  Marina  di  Pisa  or  Bocca  dMrno 
(Hdtel  Ascani,  pens,  in  summer  7,  in  winter  5  fr. ;  Fens.  Ghilli,  6-7  ir. ;  Pens. 
Marchionni)  lies  near  the  mouth  of  the  Arno,  with  a  beautiful  pine- forest. 
The  .shore  is  delightfully  sandy  but  steep.  Fine  view  of  Leghorn  and  the 
island  of  Gorgona. 

The  Monti  Pisani,  a  range  of  hills  to  the  E.,  are  very  picturesque.  In 
the  Valle  dei  Calci  (steam-tramway  to  Calci,  see  p.  426)  lies  the  Certosa,  or 
the  Carthusian  Abbey,  a  fine  Gothic  structure  of  1367,  with  church  and 
cloisters,  restored  in  1814  (adm.  50  c).  Round  it  are  groves  of  olives;  and 
above  it  rises  La  Verruca  (18^0  ft.),  witli  ruins  of  a  castle  of  the  15th  cent., 
commanding  a  delightful  prospect.  —  The  excursion  may  be  continued  from 
the  Verruca  to  the  N.  to  Monte  Pruno  (28co  ft.)  and  Monte  Serra  (3010  ft.), 
the  highest  summit  of  the  Monti  Pisani,  and  tlience  down  via  Colle  di 
Compito  to  Lucca  (p.  442).  —  Extensive  views  are  also  commanded  by 
the  Monte  Faeta  fiT'Oft.)  and  the  Hpnntone  di  Sanf  Allago  (2340  ft.),  which 
is  ascended  in  3-4  hrs.  via  Asdano  (to  which  a  carriage  should  be  taken). 


61.  From  Pisa  to  Leghorn. 

IIV2  M.  Railway  in  1/3-V2  tr.  (lares  2  fr.  25,  1  fr.  55  c,  1  fr. ;  express  2  fr. 
45,  1  fr.  70,  1  fr.  15  c). 

The  Leghorn  line  diverges  to  the  S.W.  from  the  line  to  Geaoa 
and  Lucca  and  traverses  the  coast- plain,  among  fertile  meadow- 
land  Intersected  by  canals  and  occasionally  relieved  by  woods.  — 
Beyond  (6  M.J  Tomholo  we  cross  the  Arno  Canal  (p.  438). 

11 '/2  M.  Leghorn.  —  Hotels.  In  the  Viale  Regina  Margherita,  ca. 
2'/4  M.  from  the  station,  suited  for  a  lengthened  stay:  "Palace  Hotel 
(PI.  a;  B,  4),  a  high-class  Italian  establishment  with  every  comfort,  R.  4-6, 
B.  l>/2,  dej.  3V2,  l>.  5,  pens.  8-10  fr. ;  Grand  Hotel  (PI.  b;  B,  4l,  R.  from 
31/2,  B.  IV2,  d^j.  3,  U.  5,  pens,  from  9,  omn.  1  fr.,  lift  and  steam-heating 
at  both.  —  In  the  Via  Vittorio  Emmuele  (PL  C,  2),  with  restaurants: 
•Hot.  d'Anglktbkke  Campaki,  witli  lift,  It.  from  3,  B.  1,  omn.  1  fr. ;  ''Hot. 
GiAPPONE,  with  lift,  R.  3  fr.,  omn.  80  c;  Hot.  de  Fkancb;  Am.  Falcone. 

Cafes.      \'iltoria.  Piazza  Vitt.  Emanuele  ;  Retazzi,  Via  Cairoli. 

Post  &  Telegraph  Office  (PL  23;  I),  2),  at  the  corner  of  the  Via  Vitt. 
Emanuele  and  Pi;izza  Carlo  Alberto. 

Electric  Tramways.  1.  Station  (PL  D,  i)-Piazza  Vitt.  Emanuele  (PI.  C,2)- 
Viale  Regina  Margherita  (PL  B,  3-7)-Ardenza  (PI.  C,  l)-Antignano.  —  2. 
Piazza    Vitt.   Em'.muele-Vis.zLi,  Cavour-Via  Roma  (PI.  C,  D,    'i-b)-Montenero 


438    Route  61.  LEGHORN. 

(30  c.).  —  3.  Piazza  Viti.  Smanuele-Via,  Larderel-Barriera  Vitt.  Emannele 
(PI.  E,  2)-Acque  delta  Salute. 

Caba.  To  or  from  the  station  1,  at  night  I'/j  fr.,  trunli  40,  hand-bag 
10  c. ;  per  drive  in  the  town  1  fr.,  at  night  1  fr.  20  c. ;  per  hr.  1  fr.  50  c, 
each  additional  '/2  br.  75  c,  at  night  2  or  1  fr.  Night-fares  are  charged 
between  one  hour  after  sunset  and  5  or  (from  1st  Oct.  to  31st  March)  6  a.m. 

Sea  Baths  (with  restaurants,  cafes,  and  view-terraces):  "Stabilimenlo 
Pancaldi,  Scoglio  delta  Regina,  Ferrari,  Bagni  Troita,  all  in  the  Viale  Regina 
Margheiita  (PI.  B,  3-7),  Ardenza,  Antirjnano,  and  others. 

Steamers.  Navigazione  Generate  (oflice,  Piaz/a  Micheli,  at  the  h.Trhour) 
to  Spezia,  Genoa,  Ba^tia,  etc.  —  Compagnie  Frani:aise  de  Navigation  (agent, 
Fral,  Goniirand,  see  below)  to  Bastia.  — ■  Landing  or  embariiing  at  the 
Porto  Nuovo,  1,  with  luggage  I'/a  ff. ;  at  the  Porto  Vecchio,  '/a  or  1  fr. 

Theatres.  Tealro  Goldoni  (PI.  36;  D,  2);  Potiteama  Livornete  (PI.  40; 
C,  2),  etc.  —  Eden  (PI.  41 ;  A,  B,  4),  a  popular  evening-resort,  in  summer 
only,  with  an  open-air  theatre,  roller-skating-rink,  etc. 

American  Consul.  Mr.  James  A.  Smith.  —  British  Vice-Consul.  Mr. 
M.  Carmichael. 

Bankers.  Banca  Commerciale  Italiana,  Via  Cairoli  8;  Banca  Tirrena, 
Via  Vitt.  Emanuele  19;  Saut  Salmon  e  Figlio,  same  street.  No.  4.  —  Honey 
Changer:  Gerhi,  Via  Vitt.  Emanuele  28.  —  Goods  Agents.  Fratelli  Gon- 
drand.  Via  del  Porticciolo;  Bonenfani,  Via  degli  Avvalorati. 

Physicians.  Dr.  Pellegrini,  Piazza  dei  Legnami  8;  Br.  Cassuto,  Piazza 
Magenta  9  (both  speak  Knglish).  —  Dentist.  Mr.  W.  E.  Barnes  (Amer.), 
Via  degli  Scali  degli  Olandesi  2.  —  Druggist:   Ces.  Jacchia,  Piazza  Cavour. 

English  Church  (PI.  14;  C,  3),  Via  degli  Elisi  9;  .<!ervice8  at  11,  3,  and  6. 
Chaplain,  Rev.  Ernest  Lloyd  Gardner,  Villa  Inglese.  —  Scottish  Church  (PI.  16 ; 
C,  3),  Via  degli  Elisi  3  (at  11);  minister,  Rev.  R.  M.  Robertson,  Via  Maggi  1. 

Leghorn  (Ital.  Livorno ,  French  Livourne) ,  which  was  a  very 
insigniflcant  place  In  the  16th  cent,  (in  1551  only  749  inhab.),  now 
the  capital  of  a  province,  the  seat  of  the  Royal  Marine  Academy, 
and  the  most  important  commercial  place  in  Italy  after  Genoa,  is 
indebted  for  its  size  and  importance  to  the  Medici,  who  invited 
hither  the  oppressed  and  discontented  from  all  parts  of  the  con- 
tinent, as,  for  example  Roman  Catholics  from  England,  Jews  and 
Moors  from  Spain  and  Portngal,  and  merchants  from  Marseilles,  who 
were  anxious  to  escape  from  the  perils  of  civil  war.  Montesquieu 
consequently  calls  Leghorn  'the  masterpiece  of  the  dynasty  of  the 
Medici'.  The  town  is  uncompromisingly  modern  and  has  no  import- 
ant monuments  of  art.  The  population  amounts  to  78,300  (many 
Jews),  exclusive  of  a  fluctuating  sea -faring  community  of  fully 
3000.  Leghorn  carries  on  a  brisk  trade  with  the  Levant  in  cotton, 
wool,  and  raw  silk,  and  with  the  Black  Sea  in  grain  and  petrol- 
eum. The  most  important  industrial  establishments  are  the  ship- 
building yards  (Cantiere  Orlando,  p.  439,  etc.),  the  Societk  Me- 
tallurgica  Italiana  (a  large  iron-foundry),  the  large  glass-works  in 
Torretta  (the  N.  suburb),  the  porcelain- factories,  and  the  oil- 
mills.  The  town  is  intersected  by  canals,  and  connected  by  the  Fossa 
(VArno,  a  navigable  canal,  with  the  Arno,  which  flows  into  the  Me- 
diterranean 9  M.  to  the  N. 

To  obtain  a  rapid  survey  of  the  town,  the  following  route  may 
be  followed.  From  the  station  (PI.  D,  1)  we  follow  the  Via  Palestro 
and  the  Via  Garibaldi,  which  runs  past  the  Piazza  Garibaldi  to  the 
Piazza  Carlo  Alberto  (PL  0,2),  adorned  with  colossal  Statues  of 


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LEGHORN.  61.  Route.    489 

Ferdinand  III.  (^d.  1824J  and  Leopold  II.  (d.  1870},  the  last  graiul- 
dukes  of  Tuscany. 

Thence  we  follow  the  principal  street  of  Leghorn,  the  Via  Vit- 
Toiiio  Emanuele  ( PI.  D,  C,  1),  which  is  rich  in  shops.  Immediately 
to  the  left,  Piazza  Guerrazzi  No.  4,  is  the  small  Pinacoteca  (PI.  18, 
D,  2;  open  daily,  10-4,  50  c],  containing  a  few  unimportant  pic- 
tures, a  cabinet  of  coins,  and  miscellaneous  antiquities.  —  The 
street  intersects  the  spacious  Piazza  Vittorio  Emanuele  (PI.  C,  2), 
in  which  is  an  equestrian  Statue  of  Victor  Emmanuel  II.,  by  Rivalta, 
erected  in  1892.  On  the  S.  side  of  this  piazza  is  the  Cathedral  (PI.  1), 
on  the  N.  are  the  Municipio  (PI.  21")  and  the  Exchange  (Pi.  20),  and 
on  the  W.  is  the  Prefecture  (PI.  24),  in  what  was  the  Palazzo  Gran- 
ducale.  —  In  the  quarter  of  the  city  to  the  S.  is  the  handsome  Syna- 
gogue (PI.  17;  C,  2),  founded  in  1581  and  dating  in  its  present  form 
from  1603. 

The  Via  Vitt.  Emanuele  ends  at  the  Hakbode  and  the  Piazza 
Micheli,  beside  a  Statue  of  the  Grand-Duke  Ferdinand  I.  (PI.  C,  2), 
by  Giov.  dalV  Opera,  with  four  Turkish  slaves  ('I  qnattro  Morf')  in 
bronze  by  Pietro  Tacca.  The  harbour  consists  of  the  inner  harbour 
(Porto  Vecchio,  or  Mediceo),  too  shallow  to  admit  vessels  of  large 
tonnage,  and  the  Porto  Nuovo,  constructed  from  1854  onwards, 
protected  from  the  open  sea  by  a  semicircular  mole.  An  excursion 
by  boat  will  be  found  pleasant  in  fine  weather  (1-1 1/2  fr.  per  hr. , 
bargain  necessary).  The  platform  of  the  lighthouses  (Faro;  PI.  A,  1, 
and  A,  3)  on  the  outer  mole  affords  a  good  survey  of  the  town  and 
the  sea,  with  the  islands  of  Elba,  Gorgona,  and  Capraia.  —  The  old 
Protestant  Cemetery,  adjoining  the  English  Church  (p.  438),  con- 
tai]is  the  graves  of  Tobias  Smollett  (d.  1771)  and  Francis  Homer 
(d.  1817). 

Pleasant  grounds  lie  to  the  S.  of  the  town,  with  the  sea-bathing 
establishments  mentioned  at  p.  438  (tramway  No.  1,  p.  437).  From 
the  Piazza  Micheli  (see  above)  we  traverse  the  Piazza  Mazzini, 
passing  (right)  the  Cantiere  Orlando  (PI.  29;  B,  3),  where  the  large 
armoured  cruisers  of  the  Italian  navy  are  built.  Thence  we  follow 
the  ViALE  Regina  Maeghekita  (PL  B,  3-7)  to  (1^/4  M.)  Ardenza 
(PL  C,  7),  with  its  many  villas,  frequented  especially  towards  even- 
ing in  the  bathing-season  (July  15th  to  Sept.  16th).  Thence  we  may 
follow  the  Viale  Principe  di  Napoli  to  Antignano  (Hot.  Savoia,  with 
trattoria,  open  in  summer  only;  Alb.  il  Castello,  pens.  6-8  fr.). 

From  Antignano  a  road  skirts  the  coast  to  the  S.W.,  affording  fine 
views  and  passing  two  ancient  watch-towers  (Torre  del  Boccale,  Torre  di 
Cala/i/ria)  and  the  Caslello  del  Romito,  to  Q,uercianella  and  CastiglionceUo 
(inn),  3  M.  to  the  W.  of  the  railway -station  of  Rosignano  (see  Baedeker's 
Central  Italy). 

In  the  hilly  district  above  Ardenza  and  Antignano  lies  the  famous 
pilgrim-resort  of  ifontenero  (1025  ft.  5  extensive  view),  with  an  image  of 
the  Mudonna  brought  from  the  East,  especiallv  venerated  bv  mariners 
(tramway  No.  2,  p.  437). 

To  the  E.  of  Leghorn,  1  M.  beyond  the  Barriera  Vittorio  Emanuele, 
is  the  Stahilimento  A(<iue  delta  i>aliile  or  Monleccilini  al  Mare,   a  new  Sana- 


440   Route  6-2.  EMPOLI.  From  Pirn 

torium    (tramway  No.  3,   p.  438).   —   The   sulphur-balhs   of  La  Puztolenia 
lie  11/4  M.   farther  on  (carriage  4  fr.). 

A  pleasant  Drive  may  be  taken  by  Sahiano  (0  the  S.W.  to  the  Valle 
Benedelta  and  Colognole,  whence  the  town  is  supplied  with  drinking-water. 


62.  From  (Genoa)  Pisa  to  Florence  via  Empoli. 

48  M.  Uailwat  in  IV4-31/4  brs.  (fares  9  fr.  5,  6  fr.  35,  4  fr.  10  c. :  e.x- 
prcss  10  fr.,  7  fr.,  4  fr.  65 c). 

Pisa,  see  p.  426.  —  The  railway  traverses  a  beautiful  and  fer- 
tile district.  To  the  left  are  the  Monti  Pisani,  with  the  Verruca 
(p.  437).  —  41/2  M,  Navacchio  (tramway  to  Calci,  see  p.  437).  — 
772  M.  Cascina  on  the  Arno,  where  on  the  festival  of  San  Vittorio, 
28th  July,  1364,  the  Pisans  were  defeated  by  the  Florentines.  The 
Apennines  are  visible  on  the  left.  We  cross  the  Arno  Canal  (p.  438). 

12  M.  Pontedera  (45  ft.),  a  small  town  with  9600  inhab.,  at 
the  confluence  of  the  Era  and  Arno,  where  the  road  through  the 
beautiful  valley  of  the  Era  to  Volterra  diverges  (see  Baedekefs 
Central  Italy).  There  is  also  a  steam-tramway  between  Pisa  and 
Pontedera. 

23  M.  San  Miniato  al  Tedesco ;  on  the  hill  to  the  right  lies  the 
small  town  of  that  name,  once  a  stronghold  of  Frederick  Barbarossa, 
and  appointed  by  Emp.  Frederick  II.  in  1226  seat  of  the  imperial 
governor  of  Tusda.  The  castle  of  the  latter  (Rocea),  built  about 
1286,  is  now  represented  by  a  single  massive  watch-tower.  The 
Cathedral,  dating  from  the  12th  cent.,  was  remodelled  in  1488  and 
modernized  in  1775.  The  facade  is  profusely  adorned  with  plaques 
of  majolica  (bacini).    Well-preserved  campanile. 

29  M.  Empoli  (78  ft. ;  Alb.  il  Sole ;  Alb.  Oiappone,  R,  1 1/2  f"".;  Aquila 
Nera;  Rail.  Restaurant,  unpretending),  a  town  with  7000  inhab. 
and  the  seat  of  a  bishop,  lies  in  a  fertile  district  on  the  Arno. 

The  street  from  the  station  leads  to  the  wide  cross-street  Via 
Giuseppe  del  Papa ,  at  the  end  of  which ,  on  the  right  side  of 
the  principal  Piazza,  is  the  early-Renaissance  church  of  Santa  Maria 
di  Fuori,  with  a  dome.  The  nave  is  surrounded  by  a  colonnade; 
the  interior  contains  terracottas  by  the  Delia  Robbia.  —  We  then 
retrace  our  steps  along  the  same  street,  and  proceed  through  a  lane 
to  the  left  to  the  church  of  Santa  Maria  degli  Scoldpi,  with  the 
Cappella  della  Misericordia  (key  at  the  cobbler's  beside  the  church, 
to  the  right),  in  which  there  is  a  marble  group  of  the  Annunciation 
by  Bernardo  Rossellino  (1447). 

A  cross-street  diverging  to  the  right  from  the  Via  Giuseppe,  still 
farther  on,  leads  to  the  Cathedral  (Collegiata),  with  a  Tuscan- 
Romanesque  facade,  the  lower  part  of  which  dates  from  1093. 

Intebior.  To  the  left  of  the  high-altar  is  a  small  museum;  to  the  right 
a  marble  statue  of  *St.  Sebastian,  by  Antonio  Rossellino  (1457),  in  a  rich 
wooden  frame  adorned  v/ith  two  angels  by  Botlicini,  and  two  kneeling  angels 
by  Rossellino ;  above,  God  the  Father  by  one  of  the  Della  Robbia.  Above 
the  entrance,  two  reliefs  of  the  Madonna  by  Mino  da  Fiesole  and  one  of 


to  Florence.  SIGN  A.  6'2.  Route.    441 

the  Delia  Rohbia.  —  The  sacris'y  contains  a  JIadonna  enthroned,  in  the 
style  of  Pesellino. 

To  the  right,  near  the  cathedral,  is  the  Baptistery,  with  a  Renais- 
sance font  of  1447,   and  a  Pieta  in  fresco,   in  the  style  of  Masaccio. 

A  dilijience  plies  twice  daily  from  EmpoU  to  (I1/2  hr.)  Vinci,  the  birth- 
place of  Leonardo  da  Vinci  (1452-1519),  situated  on  the  S.W.  slope  of  the 
Monte  Albano  chain  (p.  450,1.  A  pleasant  walk  of  about  4V2  brs.  may  be 
taken  via  Torre  Atmvntiata  and  the  mountain-chain  (views)  to  Car-mignano, 
with  it-i  ancient  castle  (Rocca),  and  thence  down  to  ('/z  hr.)  Poggio  a 
Cciiaito  (p.  553). 

Railway  to  Sitna  and  Chiiisi,  towards  the  S.,  see  Baedeker's  Central  IlaUj. 

On  the  left,  before  reaching  Montelupo,  we  perceive  the  Villa 
Ambrogiana,  erected  by  Ferdinand  I.  on  the  site  of  an  ancient  castle 
of  the  Ardinghelli,  and  surmounted  by  towers  and  pinnacles.  — 
34  M.  Montelupo  (130  ft.)  lies  near  the  junction  of  the  Peso  and 
the  Arno.  The  castle  of  this  place  was  fortified  by  the  Florentines 
in  1203  in  order  to  keep  in  check  the  hostile  Capraia  on  the  opposite 
side.  Hence  the  appellation  Montelupo,  mountain  of  the  'wolf, 
which  was  desirous  of  devouring  the  'goat'  (capra). 

The  train  now  crosses  the  Arno,  and  slowly  winds  through  the 
defile  of  the  Gonfolina,  by  which  the  Arno  pierces  the  chain  of  the 
Monte  Albano.  The  heights  are  clad  with  pines  and  cypresses; 
farther  down  are  quarries  of  pietra  serena,  a  kind  of  saiidstone. 
The  Ombrone,  which  falls  into  the  Arno,  is  next  crossed, 

391/2  M-  Sigila,  with  its  grey  towers  and  pinnacles,  founded  in 
1377  by  the  Florentines  to  command  the  road  at  this  point.  This 
place,  as  well  as  the  opposite  village  of  Lastra,  is  noted  for  its  straw- 
plait.  Steam-tramway  to  Florence  (see  p.  460).  See  Ouida's  'Signa'. 
—  The  valley  expands.  —  Near  (42  M.)  San  Donnino  is  Brozzi, 
with  numerous  villas  which  proclaim  the  proximity  of  the  capital. 

48  M.  Florence,  see  p.  467. 

63.    From  Pisa  to  Florence  via  Lucca  and  Pistoia. 

62V2  M-  Railwat  in  2V4-4  hrs.  (fares  11  fr.  75.  S  fr.  25,  5  fr.  30c.; 
express  12  fr.  CO,  9  fr.  5,  5  ir.  90  c).  Beyond  Lucca  the  best  views  are  on 
he  left. 

The  line  crosses  the  Arno,  skirts  the  W.  and  N.  sides  of  Pisa 
(fine  view  of  the  cathedral),  and  intersects  the  fertile  plain  between 
the  Arno  and  Serchio.  —  51/2  M-  Bagni  di  San  Giuliano  (33  ft.), 
at  the  base  of  the  Monti  Pisani,  known  to  the  ancients  as  Aquae 
Calidae  Pisanorum,  are  much  frequented  in  summer.  There  are 
several  springs  varying  in  temperature  from  80°  to  104°Fahr. 

At  (71/2  ^I')  Rigoli  the  line  approaches  the  Serchio,  and  beyond 
(91/2  M.)  liipafratta  (33  ft.),  with  its  ruined  castle,  describes  a 
complete  semicircle  round  the  beautifully-formed  .Monte  San  Giu- 
liano or  Monte  Maggiore  (14lt0  ft.),  which,  as  Dante  says  (^Inferno, 
xxxiii.  30),  prevents  the  two  towns  of  Pisa  and  Lucca  from  seeing 
each  other.  —  15  M.  Lucca  (p.  442). 


442    Route  03.  LUCCA.  From  Pirn 

Lucca.    —  Hotels.     Alb.  Reale  l'Universo  (PI.  a;  C,  3),  Piazza  del 

Giglio,  well  situated,  with  restaurant  (entr.  Piazza  Kapoleone),  R.  2'/2-3, 
B.  1,  pens.  7  fr. ;  Croce  di  Malta  (PI.  b ;  C,  3),  Via  Burlamacchi  18,  similar 
charges,  no  omnibus;  Corona  (PI.  c;  C,  3),  Via  Nazionale,  with  good 
trattoria,  R.  2-2V2  fr.  5  Campana  (PI.  d;  C,  3),  Via  Nazionale.  —  Railway 
RestauranI,  clean. 

Cafe.  Cdfi  Dinucci,  Piazza  Napoleone,  at  the  corner  of  the  Via  Nazionale 
(also  restaurant).  —  Bnccellato  is  a  sweet  kind  of  bread. 

Post  Office  in  the  Palazzo  Provinciale  (PI.  C,  3). 

Cabs.  Per  drive  1  fr.,  per  hr.  2  fr.,  each  addit.  hr.  IV2  fr. ;  from  the 
station  to  the  town,  with  luggage,  1  fr.  Bargain  advisable  for  drives  out- 
side the  town. 

Principal  Attractions  (Iday):  Cathedral;  San  Michele;  SanFrediano; 
Picture  Gallery  in  the  Palazzo  Provinciale;  in  the  afternoon,  Galleria 
Mansi ;   Walk  or  drive  on  the  ramparts. 

Lucca  (62  ft.),  formerly  the  capital  of  the  duchy  of  that  name 
and  now  of  a  province,  and  also  the  see  of  an  archbishop ,  with 
43,600  iiihab.,  is  an  antiquated  place  situated  in  a  fertile  plain  be- 
tween the  Monti  Pisani  and  the  Alpi  Apuane,  with  well-preserved 
fortifications  of  1561-1650  and  many  interesting  churches.  'Lucca 
Vindustriosa'  is  noted  for  its  silk-factories,  a  branch  of  industry  in- 
troduced from  Sicily  in  the  14th  cent.,  and  also  for  its  woollen  goods 
and  oil.  An  aqueduct,  built  in  1823-32  by  Lor.  Nottolini  and  re- 
calling with  its  459  arches  the  aqueducts  of  the  Roman  Campagna, 
supplies  the  city  with  good  drinking-water  from  the  Pisan  mountains. 

Lucca*  (Roman  Luca)  was  founded  at  a  very  remote  period.  It 
first  belonged  to  Etruria,  afterwards  to  Liguria,  and  after  its  capture  by 
the  Romans  in  177  B.  C,  it  was  garrisoned  by  a  Roman  colony  and  was 
included  in  the  province  of  Gallia  Cisalpina.  In  B.  C.  56  Julius  Caesar, 
who  was  then  governor  of  Gaul ,  held  a  conference  here  with  Pompey 
and  Crassus,  with  whom  he  had  been  associated  since  B.  C.  60,  in  order  to 
discuss  a  plan  for  the  administration  of  the  Roman  empire  for  the  ensuing 
five  years.  The  splendour  of  Lucca  at  that  period  is  still  indicated  by  the 
remains  of  a  Roman  Amphitheatre.  After  the  fall  of  the  Roman  Empire, 
Lucca  belonged  successively  to  the  Goths,  Lombards,  and  Franks,  then 
became  a  duchy,  and  in  1115,  after  the  death  of  the  Countess  Matilda  (p.  424), 
a  republic.  The  feuds  of  the  Guelphs  and  Ghibellines  impaired  the  strength 
of  the  place  so  seriously  that  in  1314  it  was  compelled  to  succumb  to 
Vgvccione  delta  Faggiuola  of  Arezzo,  the  warlike  governor  of  Pisa.  Dante 
resided  with  his  friend  Uguccione  at  Lucca  in  1314,  and  there  became 
enamoured  of  the  youthful  Geniticca  (Purgatorio,  xxiv.  43),  but  he  does  not 
describe  the  inhabitants  in  very  flattering  terms  (Inferno,  xxi.  41).  After 
the  expulsion  of  Uguccione  Lucca  fell  in  1322  into  the  hands  of  the 
powerful  Castruccio  Castraeani  degli  Antelminelli  of  Lucca,  who  was  also 
master  of  Pisa  and  Pistoia.  On  23rd  Sept.,  1325,  he  defeated  the  Florentines 
at  Altopascio,  and  in  1327  was  nominated  imperial  governor  in  Pisa,  with 
the  title  of  duke,  by  Emp.  Lewis  the  Bavarian.  On  his  death  in  1328 
the  power  of  Lucca  declined;  its  next  master  was  Mastino  II.  delta  Scala; 
it  subsequently  came  into  the  possessionof  Florence  and  then  (in  1343)  of 
Pisa,  but  in  1369  it  purchased  its  freedom  from  Charles  IV.  for  300,000  florins, 
and,  with  the  exception  of  the  rule  of  the  native  family  of  the  Gtiinigi 
(1892-1430),  it  remained  independent  till  the  invasion  of  the  French  in 
1799.  In  1805  Napoleon  gave  Lucca  as  a  principality  to  his  sister  Elisa 
Baciocchi;  in  1814  it  came  into  the  possession  of  the  dukes  of  Parma  of 
the  house  of  Bourbon,  who,  on  succeeding  to  the  throne  of  Parma  after 
the  death  of  Marie  Louise,  ceded  it  to  Tuscany  in  1847. 

In  the  History  of  Medi.«val  Architectdre  Lucca  occupied  an  im- 
portant position  from  the  period  of  the  Lombards  onward.  The  oldest 
churches  have  unfortunately  preserved  their  early-mediaeval  character  very 


55_ 


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to  Florence.  LUCCA.  63.  Route.    443 

imperfectly,  but  their  columns,  like  those  of  the  early-Christian  basilicas 
of  Rome,  are  antique.  The  taste  for  building,  probably  stimulated  by 
rivalry  with  Pisa,  was  again  revived  in  the  i2th  cent.,  when  the  older 
churches  were  altered  and  restored,  doubtless  in  accordance  with  Pisan 
models.  —  Towards  the  end  of  the  15th  cent.  Matteo  Civitali  (1435-1501), 
one  of  the  most  pleasing  sculptors  of  the  early  Renaissance,  resided, 
and  produced  numerous  works,  at  Lucca.  His  style,  influenced  by  Antonio 
Rossellino  and  other  Florentine  masters,  though  full  of  life,  is  of  a  grace- 
ful and  gentle  character,  contrasting  especially  with  Donatello. 

Near  the  Railway  Station  (PI.D,  4)  are  a  number  of  new  streets, 
including  the  unfinished  Via  Circonvallazione  (PI.  E,  F,  4,  3). 
We  enter  the  inner  town  through  the  Porta  San  Pietro  (PI.  C,  4) 
and  proceed,  trending  to  the  left,  to  the  — 

Piazza  Grande  or  Piazza  Napoleone  (PI.  C,  3),  the  chief  square, 
laid  out  under  Elisa  Badocchi.  In  the  centre  is  a  monument  to 
the  Duchess  Marie  Louise,  by  Lor.  Bartolini  (1843).  —  This  piazza  is 
adjoined  on  the  S.E.  by  the  Piazza  del  Giglio(PJ.C,  3),  a  few  yards 
to  the  E.  of  which  is  the  Piazza  San  Martino,  with  the  — 

*Cathedral  of  San  Martino  (PI.  D,  3),  founded  in  the  6th  cent, 
by  St.  Frigidianus  (p.  447)  but  rebuilt  in  1060-70  in  the  Roman- 
esque style  by  Bishop  Anselmo  Badagio  (later  Pope  Alexander  IL). 
The  choir-apse  and  the  aisles  date  from  the  original  building,  though 
the  latter  received  Gothic  windows  and  buttresses  (chiefly  on  the  N. 
side)  in  the  course  of  an  extensive  restoration  in  the  14th  cent.  (1308 
and  1372),  when  the  nave  and  transepts  were  rebuilt  in  the  Gothic 
style.  The  sumptuous  facade  (restored  in  1903-4),  added  after 
1204  by  Guido  da  Como  and  his  son  Guidetto,  is  embellished  with 
a  fine  group  of  St.  Martin  and  the  beggar  (iSth  cent.  ?).  The  laby- 
rinth on  the  pier  to  the  right  symbolises  the  erring  paths  of  human 
life.  The  ornamentation  inside  the  vestibule  was  begun  in  1233  ; 
the  reliefs  represent  the  history  of  St.  Martin  and  the  emblems  of 
the  Months.  Over  the  door  are  an  Adoration  of  the  Magi  (much 
mutilated)  and  a  Descent  from  the  Cross,  two  early  works  of  Niccolh 
Pisano  (p.  428).  The  church  is  entered  by  three  Renaissance  doors 
adorned  with  wood-carvings. 

The  "Intkkior  (most  of  the  altar-pieces  covered  on  week-days),  which 
has  recently  undergone  a  thorough  restoration,  is  in  the  form  of  a  Latin 
cross,  with  nave  aud  ai.sles  92  yds.  in  length,  transept  48,  and  nave  30  yds. 
in  width.  The  nave  (02  ft.  high)  has  pillars  and  round  arches,  above  which, 
as  in  Northern  Gothic  churches,  is  a  Iriforiiim  (with  large  windows  and 
rich  tracery)  over  the  aisles  and  carried  across  the  transept,  which  it 
also  intersects  longitudinally.     Stained   glass  by   Giw-^.  Berlini  (1856). 

Right  Aislk.  At  the  3rd  altar.  Last  Supper,  by  Tintoretto.  Pulpit  by 
Matteo  Civitali,  with  rich  ornamentation  (149S).  Above  the  adjoining  en- 
trance to  the  .^acristy  is  an  organ-screen  of  14^2.  —  In  the  Sackistt,  Dom. 
Gliirlandoio,  °Jladonna  with  SS.  Clement,  Peter,  Paul,  and  Sebastian; 
above,  a  Pietii  (an  early  work  hj  Michael  Angela  1),  below,  a  fine  predella. 

The  Right  Transki-t  contains  (r.)  the  beautiful  marble  Monument  of 
Pietro  da  Noceto,  secretary  of  Pope  Nicholas  V.,  hy  Matteo  Civitali  (1472)-, 
by  the  same  master,  farther  on,  is  the  simple  tomb  of  Count  Domenico 
Bertini  (1479);  also  in  the  following  Cappei.la  del  Sackamento  (enclosed 
by  a  railing)  two  '^Angels  in  an  attitude  of  adoration  (1477)  and  (adjoining 
the  choir  on  the  right)  the  Altar  op  St.  Regulus,  with  St.  Sebastian  and 
John  the  Baptist  and  beautiful  reliefs  (1484). 


444    Ro%ite  61)  LUCCA. 


From  Pisa 


The  beautiful  stained  glass  in  the  Cuoiit  is  by  Pandolfo  di  Ugolino  da 
Pisa  (1485).  —  To  the  left  of  the  choir  the  Altak  of  Liberty,  which 
Lucca  recovered  in  1369  from  Emp.  Charles  IV.  (inscription:  Christo  libera- 
tori  atque  divis  tu(elaribus),  with  a  Resurrection  by  Giov.  da  Bologna  (1579). 
In  the  following  Cappella  del  Santdakio  (to  the  left;  closed),  dating 
from  1629-37,  a  '"Madonna  with  SS.  Stephen  and  John  the  Baptist  and  a 
beautiful  angel  with  a  musical  instrument,  by  Fra  Ilartolomeo  (1509;  in 
excellent  preservation):  'a  noble  picture  this,  full  of  gentle  elegance, 
Leonardesqne  in  science  and  in  execution,  and  graced  with  the  prettiest 
finesses  of  the  brush,  bathed  in  a  warm  and  airy  vapour,  and  firm  of 
outline  and  touch'  (C.  <{•  C). 

The  Left  Transept  contains  the  Monument  of  Ilaria  del  Carretto 
(d.  1405),  second  wife  of  Paolo  Guinigi,  by  Jacopo  della  Querela  (1406),  one 
of  the  earliest  works  of  the  Renaissance;  the  noble  figure  of  the  young 
woman,  resting  on  a  sarcopha'ius,  is  surrounded  by  'putti'  with  a  garland 
of  fruit. 

In  the  Left  Aislb  is  II  Tempietto,  a  small  octagonal  chapel  of  marble, 
partially  gilded,  erected  in  1484  by  M.  Civitali,  and  containing  the  VoUo 
Santo  di  Lucca  (p.  447),  an  ancient  crucifix  in  cedar-wood,  said  by  tradi- 
tion to  have  been  made  by  St.  Mcodemus,  and  to  have  been  transferred  in 
a  miraculous  manner  from  the  Holy  Land  to  Lucca  in  782.  The  embroid- 
ery on  the  red  curtain  is  a  faithful  copy  of  the  sacred  relic  behind  it.  In 
front  of  the  entrance  is  suspended  a  candelabrum  of  solid  gold,  26  lbs.  in 
weight,  presented  by  the  inhabitants  of  Lucca  in  1836,  when  the  approach 
of  the  cholera  was  dreaded.  On  the  opposite  side  a  statue  of  St.  Sebas- 
tian, also  by  Civitali.  On  the  pavement  close  by,  inlaid  work  of  coloured 
stones,  representing  Solomon's  .Judgment. 

On  the  Entrance  Wall,  Descent  from  the  Cross,  and  St.  Nicodemus 
carving   the  Volto  Santo,  frescoes  by  Cosimo  RosselU. 

The  cathedrcal  treasury  is  preserved  in  the  Amministrazione  del 
Buomo,  on  the  N.  side  of  the  church ,  Piazza  Antelminelli  2.  It 
includes  the  so-called  Croce  dei  Pisani,  in  silver-gilt  (14th  cent.), 
a  Gothic  episcopal  staff,  a  Gothic  leather  casket,  etc. 

Beiiiiid  the  cathedral,  and  connected  with  it  by  a  passage,  is  the 
Archiepiscopal  Palace  (^Arcivescovado ;  PL  1,  D  3),  altered  in  the 
18th  cent.,  the  court  of  which  commands  a  good  view  of  the  cathe- 
dral-apse. 

The  Archiepiscopal  Library  contains  20  MSS.  and  400  rare  editions. 
In  the  Archives  are  many  documents  dating  from  before  1000.  —  The 
Chapter  Library  (Bibliotheca  Feliniana)  is  rich  in  mediaeval  MSS. 

The  elegant  Gothic  Chapel  of  Santa  Maria  della  Rosa  (PL  9 ; 
D,  3),  in  the  neighbouring  Via  della  Rosa,  dates  from  1309,  but  the 
interior  was  entirely  modernized  in  1609. 

We  return  to  the  Piazza  San  Martino.  The  Romanesque  build- 
ing (partly  restored)  next  the  campanile  of  the  cathedral  is  now 
the  Monte  di  Fieth.  —  Opposite,  on  the  N.  side  of  the  piazza,  rises 
the  Palazzo  Bernardi-Micheletti  (PL  20),  by  Bart.  Ammanati. 

San  Giovanni  (PL  D,  3),  to  the  left  of  the  last,  is  a  basilica  of 
the  12th  cent.,  with  aisles  and  transept.  The  facade  is  modern,  with 
the  exception  of  the  portal,  over  which  there  is  a  relief  of  the 
Madonna  with  the  Apostles,  of  the  12th  century. 

In  the  Interior  the  flat  coffered  ceiling  is  supported  by  ten  columns, 
of  which  the  shafts  and  aome  of  the  capitals  are  ancient.  —  Adjoining 
the  left  transept  is  a  venerable  Baptistery .  with  a  Gothic  vaulted  roof  (14th 
cent.).  The  remains  of  a  font  of  the  13th  cent. ,  more  than  6  ft.  below 
the  present  level   of  the  pavement,  were  exhumed  in  the  centre  in  1887, 


to  Florence. 


LUCCA.  63    Rmte.    445 


A  little  to  the  N.W.  stands  the  small  church  of  San  Giusto 
(PI.  C,  D,  3),  with  a  line  portal  of  the  I'lth  century.  Near  this 
spot  stood  the  palace  of  the  Lomhard  dukes.  —  The  Romanesque 
church  of  San  Cristoforo  (PI.  7;  D,  3),  in  the  Via  Fillungo,  dates 
from  the  ll-12th  centuries.   Pretty  facade. 

On  the  W.  side  of  the  Piazza  Napoleone  (p.  443)  is  situated  the 
Palazzo  Provinciale  (PI.  C,  3),  formerly  Fal.  Bucale,  begun  in 
lo78  by  Bart.  Ammanali  on  the  site  of  a  palace  (burned  in  1676) 
of  Castnu'cio  and  the  Guinigi,  continued  in  1728  by  Franc.  Pini 
and  Fit.  Juvara  with  important  deviations  from  the  original  plan, 
and  still  unlinished.  In  the  imposing  inner  court  stands  a  monu- 
ment to  the  jurist  Franc.  Carrara  (1805-88),  who  was  born  at  Lucca. 

In  the  archway  leading  to  the  second  court  is  (left)  the  entrance 
to  the  Picture  G.^llbrt  (Pinacoteca),  important  on  account  of  two 
paintings  (from  San  Romano)  by  Fra  Bartolomeo  (open  daily,  10-2, 
^2  fr-;  closed  on  Mon.,  Easter  Sun.,   and  Sun.  in  Christmas  week). 

From  the  Vestibule,  which  contains  mediaeval  sculptures,  vre  ascend 
the  staircase  to  the  lir.-^t  lloor. 

I.  Room.  Entrance-vrall:  *'1'2.  Fra  Bartolomeo,  God  the  Father  with 
JIary  Magdalen  and  St.  Catharine  of  Siena,  1509;  injured  by  restoration. 
—  'In  this  most  admirable  production  for  feeling  as  well  as  form,  a  special 
attractiveness  is  created  by  colouring  redolent  of  Venetian  richness  and 
brilliancy,  and  by  atmosphere  successfully  attained  in  gradations  of  land- 
scape-tints, and  t)y  chiaroscuro  after  the  method  of  Da  Vinci  in  the  Jlona 
Lisa,  or  of  Raphael  in  the  portrait  of  Leo  the  Tenth"  (C.  tt  C).  —  Oppc 
site,  'b.  Fra  Bartolomeo,  Madonna  della  Misericordia,  with  portraits  of 
the  Moncalieri  family,  of  1515;  also  injured  by  restoration.  — 'The  classic 
movement  of  the  principal  figure,  the  varied  but  always  elegant  attitudes 
and  action  of  the  remainder  are  almost  matchless  instances  of  the  mode 
in  which  scientific  calculation  gives  nature  as  a  result.  In  most  of  the 
minutiee  unusual  power  of  observation  is  revealed.  Nothing  can  be  more 
pleasing  than  the  manner  of  dividing  the  fingers  with  their  play  suggesting 
unconsciousness.  Admirable  are  the  draperies  in  which  the  folds  are  con- 
centrated (in  the  bends'  (C.  &  C).  —  In  this  room  also  are:  1.  Pompeo 
Batoni,  Martyrdom  of  St.  Bartholomew  ;  11.  Domenichino,  Samson. 

II.  Room.  On  the  right,  3.  And.  del  Sarto,  Holy  Family  (replica  of  that 
in  the  Palazzo  Pitti);  5.  Pontormo,  Giuliano  de'  Medici;  15.  Tintoretto, 
St.  Mark  releasing  a  slave  (small  replica  of  that  in  the  Academy  at  Venice, 
p.  309);  20.  Gtiido  lie/ii,  Crucilixion,  with  SS.  Julius  and  Catharine;  A. 
Bromino,  23.  Don  Garzia  de'  Medici,  25.  Fordinando  de"  Medici.  —  37.  Amico 
Aspertini ,  Madonna  in  glory,  with  four  saints;  39.  Sustermans,  Vittoria 
della  Kovere,  with  her  son  Cosimo  III.  de'  Medici.  —  42.  Lod.  Brea,  3Ia- 
donna  with  saints ;  60.  Beccafumi,  Moderation  of  Scipio.  —  A  case  in  the 
centre  contains  coins  and  medals;  another  at  the  end- wall  contains  medieval 
articles  in  gold  and  bronze.  —  We  pass  through  E.  I.  again  to  reach  the  — 

III.  EooM.  3.  Rembrandt  {1).  Portrait  (retouched  throughout);  8.  Svsler- 
mant.  Female  portrait.  —  IV.  Room.  Nothing  of  importance. 

From  R.  I.  we  enter  the  V.  Room.  20.  Choir-stalls  from  the  cath- 
edral, by  Leonardo  Marti  (1452-57);  35.  Gothic  choir-stalls  and  lectern  from 
the  former  church  of  Sant"  Agostino  (I5lh  cent.);  21.  Panel  with  intarsia 
work  by  Cristoforo  da  Lendinara  tl4SS);  31.  Wooden  altar  with  marble 
statues  of  the  Madonna,  St.  Martin,  and  the  Archangel  Michael  (Pisan  School; 
14th  cent.);  10.  Matteo  Civitali  (?),  Assumption  of  the  Virgin.  —  The  ad- 
joining room  contains  modern  paintings  of  no  importance. 

Adjoining  the  second  court  of  the  Palazzo  Provinciale  on  the  W. 
is  situated  the  churcli  of  San  Romano  (PI.  0,  3),  which  dates  from 


446   Route  63.  LUCCA.  From  Pisa 

1279  but  was  remodelled  in  1635  by  Vincenzo  Buonamici.  At  the 
back  of  tbe  bigb-altar  are  the  remains  of  tbe  monument  of  St.  Ro- 
manus,  with  a  Pietk  above,  and  a  recumbent  figure  of  the  saint 
below,  with  painted  armour,  by  Matteo  Civitali  (1490). 

Near  the  Via  Vittorio  Emanuele,  not  far  from  the  Piazza  Napo- 
leone,  is  the  church  oi  SanC  Alessandro  (PI.  5;  C,  3),  of  the  11th 
cent.,  with  flue  antique  columns. 

The  Palazzo  Mansi  (PI.  C,  2),  Via  Galli-Tassi  17,  a  building 
of  the  17th  cent.,  contains  a  valuable  Picture  Oallery,  consisting 
principally  of  Dutch  paintings,  inherited  from  the  Van  Diemen 
family.    Open  daily  (fee  '/2"1  f^-)- 

From  the  vestibule  we  enter  (to  the  left)  a  glass-roofed  Saloon.  To 
the  left,  R.  van  Vries,  Silvan  scene;  C.  J.  van  der  Laemen,  Seven  genie 
and  conversation-pieces  (1641);  Frans  Snyder-^,  ~Fruit  and  game  dealer 
(figures  of  the  school  oi  Rubens);  Ferd.  Sol,  'Abraham's  sacrifice,  the  chief 
work  of  the  Rembrandtesque  period  of  tbe  artist,  inlluenced  by  Rem- 
brandt's painting  of  the  same  subject  (nnw  in  St.  Petersburg);  Ad.  Pynacker 
Dutch  farm  and  ferry.  —  //.  Averkamp  (not  Brueghel),  Winter-pleasures; 
Jac.  Jordaenf,  Adoi-ation  of  the  Shepherds;  P.  Claesz,  Still-life.  —  Jan 
Weenix,  'Spoils  of  the  chase;  Nic-  Poussin,  Four  architectural  pieces,  with 
accessories;  P.  Claesz.  The  breakfast-table  (1653);  Lucas  van  Leyden  (?), 
Adoration  of  the  Magi;  Melch.  d'Hondecoeter,  *Cock  and  turkey  fighting; 
A.  van  Dyck  (?) ,  Holy  Family ;  above,  four  large  battle-pieces  by  J.  van 
lluelitenbiirgh.  —  G.  Terburg  (?),  Two  portraits  of  the  Van  Diemen  family ; 
Rubens,  Satyr  and  shepherdess  (school-piece).  —  Fr.  Francia,  Madonna; 
Domenichino,  Martyrdom  of  St.  Agatha;  Jac.  Oc7i<eri>«I<,  Conversation-piece ; 
over  the  door,  Fi\  Snyderi,  Still-life. 

Vestibule.  P.  Brueghel  the  Younger,  Four  rustic  fetes;  Mathys  Naiveu, 
Cherry-seller;  Q.  Poussin  (Dughet),  Diana  and  Acta'on. 

III.  KooM.  To  the  left:  Rembrandt  (?),  Landscape;  Perin  del  Vaga, 
Holy  Family ;  H.  Bles  (?),  Temptation  of  St.  Anthony.  —  Sea-pieces  by 
J.  Lingelbach,  A.  Smit,  J.  Blankerhof  (not  Bakhuysen),  etc. 

IV.  Room.  Back-wall:  /.  Ftfrmej/en,  Three  scenes  from  the  campaigns  of 
(harlesV. :  Capture  of  Tunis,  Capture  of  Home,  Battle  of  Pavia.  Above, 
Gysbert  d'Hvndecoeler,  Peacock  and  poultry. 

From  the  Piazza  Napoleone  (p.  443)  we  proceed  to  the  N., 
through  the  busy  Via  Nazionale,  to  the  Piazza  San  Michele  (PI.  0, 3), 
the  ancient  Forum,  in  which  rise  a  statue  of  Fran.  Burlamacchi 
(d.  1548;  p.  469)  and  the  ancient  church  of  San  Michele,  founded 
before  795,  but  altered  and  restored  in  the  12th,  14th,  and  16th 
centuries.  The  over-decorated  facade,  rising  high  above  the  nave, 
with  representations  from  the  medi£Eval  bestiaries,  was  restored 
about  1200,  and  in  great  part  rebuilt  in  the  19th  century.  The  figure 
of  the  archangel  at  the  top  is  modern.  The  row  of  columns  on  the 
S.  side  was  added  in  1377.  Tbe  statue  of  the  Madonna  at  the 
corner  is  by  Civitali.  The  left  transept  contains  an  altar-piece  by 
Filippino  Lippi  (SS.  Rochus,  Sebastian,  Jerome,  and  Helen)  and  a 
relief  of  the  Madonna  by  Raffaello  da  Montelupo  (1622). 

The  Palazzo  Peetosio  (PI.  19;  C,  3),  in  the  early-Renaissance 
style  (built  after  1492),  is  situated  on  the  S.  side  of  the  Piazza 
S.  Michele.    In  the  loggia  is  a  statue  of  Matteo  Civitali  (1893). 

The  Via  Calderia  leads  hence  to  the  N.  to  the  Chiesa  del  Sal- 


to  Florence.  LUCCA.  63.  Route.   447 

vatore  or  Misericordia  (PL  11 ;  C,  2),  dating  from  the  ll-12th  cent., 
with  ancient  sculptures  on  the  portals;  over  the  S.  side-door  is  a 
relief  of  St.  Nicholas,  by  Biduinus  (p.  433). 

Beside  the  adjacent  church  of  Santa  Maria  Cort'orlaadini,  in  the  street 
of  that  name,  is  the  Biblioieca  Governativa  (PI.  2;  C,  2),  which  possesses 
some  interesting  MSS.  (e.g.  Latin  poems  by  Tasso)  and  early  printed  works. 
To  the  left  of  the  Reale  Liceo  is  the  16th  cent.  Palazzo  Controni-l'fanner 
(Pi.  C,  2),  with  a  handtome  staircase. 

On  the  N.  side  of  the  town  is  situated  — 

*San  Frediano  (PI.  D,  2),  said  to  have  been  originally  dedi- 
cated to  San  Vincenzo  by  St.  Frigidianus,  an  Irishman,  who  was 
Bishop  of  Lucca  in  560-78.  In  the  7th  cent.,  however,  it  became 
the  clinrch  of  a  monastery  founded  by  the  Lombard  kings  Bertharic 
and  Cunibert.  In  1112-47  it  was  rebuilt  in  the  Romanesque  style. 
The  exterior  deviates  from  the  Tuscan-Romanesque  style  in  having 
vertical  bands  and  colonnades  with  straight  architraves.  The  mosaic 
of  the  12th  cent.  (Christ  enthroned,  with  tlio  Apostles)  with  which 
the  facade  is  adorned  was  restored  in  1829. 

Intbkiok.  The  Nave  was  originally  flanked  with  double  aisles,  the 
outer  (if  which  have  been  converted  into  chapels.  Eight  of  the  22  columns 
are  antique.  —  On  the  entrance-wall  are  two  treacoes:  to  the  left,  Madonna 
and  saints,  by  Amico  Aspertini^  a  pupil  of  Fr.  Francia;  on  the  right, Visi- 
tation, by  Rid.  Ohirlandaio  (injured). 

Leit  Aisle.  The  Cappella  di  Sant'  Agostino  (2nd)  contains  two  fine 
frescoes  by  Amico  Aspertini  (restored  in  1831).  On  the  ceiling  God  the 
Father,  surrounded  by  angels,  prophets,  and  sibyls;  in  the  lunette  to  the 
left  the  Entombment;  below  it,  to  the  lelt,  an  image  of  Christ  found  in 
the  sea(  Volto  Sanlo,  p.  444),  drawn  by  two  oxen,  to  the  right,  St.  Augustine 
baptised  by  St.  Ambrosius  at  Milan.  In  the  lunette  on  the  wall,  on  the 
right,  St.  Augustine  instructing  his  pupils,  and  presenting  them  with  the 
rules  of  his  order;  below,  to  the  left,  the  Nativity  and  Adoration  of  the 
Magi;  on  the  right,  San  Frigidiano  miraculously  checking  an  inundation 
of  the  sea.  —  In  the  Cappella  del  Santo  Sacramento  (4th),  a  marble 
altar  with  a  'Madonna  and  four  saints  in  relief  by  Jacobus  magistri  Petri 
de  Senis  (Jacopo  delta  Qttercia);  above,  four  prophets  in  high  relief;  below, 
low  reliefs  of  Martyrdoms,  a  Pieta,  etc.  (1422).  Opposite  are  the  tomb- 
stones (damaged)  of  Federigo  Trenta,  founder  of  the  chapel,  and  his  wife, 
by  the  same  artist  (1416). 

Right  Aisle.  In  front  is  the  ancient  font,  with  stiff  reliefs  (copied 
from  an  early-Christian  ivory  pyx),  according  to  a  doubtful  inscription  by 
Roberlus  (1151);  by  the  wall  is  the  more  modern  font  by  Niccolb  Civilali. 
The  2nd  chapel  contains  the  tomb  of  St.  Zita,  the  patroness  of  Lucca, 
mentioned  by  Dante  (Inferno,  xxi.  38).  In  the  5th  chapel  is  a  painted 
relief  of  the  Death  and  Assumption  of  the  Virgin,  by  Malteo  Civitali 
the  Younger,  and  a  fine  Coronation  of  Mary,  by  Francesco  Francia  (both 
covered). 

We  now  cross  the  Piazza  San  Frediano,  which  adjoins  the 
church  on  the  E.,  and  reach  the  Piazza  del  Mercato,  or  vegetable- 
market.  The  Palazzo  Nobili,  No.  14  in  the  Piazza  S.  Frediano 
(left  side),  contains  a  fine  Madonna  by  Giulio  Romano,  with  the 
features  of  Raphael's  Fornarina  in  the  Pal.  Barberini  at  Rome.  — 
The  houses  enclosing  the  market  stand  on  the  foundations  of  a  Roman 
Amphitheatre  (PI.  D,  2)  dating  from  the  end  of  the  first  or  begin- 
ning of  the  second  Christian  century.   Two  series  of  the  arcades,  of 


448   Route  63.  LUCCA.  From  Pisa 

54  arches  each,  are  still  visible  on  the  outside;  length  135  yds., 
width  105  yds. ;  the  arena  (the  present  market-place)  87'/2hy58yds, 
To  the  E.  of  the  Amphitheatre  is  situated  the  church  of  Sa7i  Pietro 
Somaldi  (PI.  D,  E,  2),  fnunded  during  the  Lombard  period,  restored  in  the 
13th  cent.,  and  modernized  in  the  interior  in  the  19th  century.  —  Farther 
on  is  San  Francesco  (PI  E,  2),  erected  in  1228,  containing  the  monuments 
of  the  poet  Giov.  Guidiccioni  (1500-41)  and  of  the  celebrated  Castruccio 
Castracani  (d.  1328;  p.  412).     It  is  now  used  a?  a  military  magazine. 

To  the  S.  of  the  Amphitheatre,  Via  Gulnigi  No.  13,  at  the  corner 
of  the  Via  Sant'  Andrea,  stands  the  *Palazzo  Guinigi  (PI.  D,  2), 
an  Italian  Gothic  structure  of  brick  erected  about  1400,  with  a  high 
tower.    No.  16,  opposite,  is  a  Palazzo  Ouinigi  also. 

The  Palazzo  Mazzarosa  (PI.  21 ;  D,  3),  Via  Santa  Croce  26,  con- 
tains some  good  paintings.  In  the  court  is  a  relief  by  Biduinus 
(Christ  on  the  Mt.  of  Olives). 

The  church  of  Santa  Maria  Forl^portam  (Fl.  E,  3),  founded  in 
the  8th  cent.  (?)  and  rebuilt  in  the  12th,  contains  antique  columns. 
At  the  4th  altar  on  the  right  is  a  St.  Lucy,  by  Ouercino.  —  The  old 
Porta  San  Gervasio  (PI.  E,  3),  rising  with  its  two  massive  round 
towers  at  the  end  of  the  Via  Sa-ita  Croce,  is  a  relic  of  the  second 
town-wall  (13th  cent.). 

A  spare  hour  should  be  devoted  to  a  *Walk  on  the  Ramparts 
(22/3  M.  long),  which,  especially  on  the  W.  and  N.  sides,  afford  a 
succession  of  pleasant  views  of  the  town  with  its  numerous  towers, 
and  of  the  beautiful  mountains  in  the  vicinity  (Monti  Pisaiii,  Alpi 
Apuaiie,  Apennines).  In  the  grounds  on  the  S.W.  side  is  a  monu- 
ment of  Charles  III.  of  Spain  (PI.  13  ;  B,  3,  4),  erected  in  1822.  On 
the  southernmost  bastion,  now  named  Piazzale  Vittorio  Emanuele 
Secondo,  is  a  pleasant  cafe. 

The  Environs  of  Lucca  are  beautiful  and  contain  many  pleasant  villas, 
but  in  summer  the  country  is  hot  and  destitute  of  shade. 

The  traveller  should  visit  the  Villa  di  Mcirlia,  3  M.  to  the  N.E.,  with 
its  beautiful  grounds,  fine  points  of  view,  and  fountains,  resembling  Marly 
near  Paris  (whence  the  name),  and  with  a  chapel  containing  old  paint- 
ings, etc.  The  road  thither  leads  through  the  Porta  Santa  Maria  (PI.  D,  1), 
and  then  diverges  to  the  right  from  that  to  the  Baths  of  Lucca.  —  Ex- 
cursion to  the  Monti  Pisani,  see  p.  437. 

Feom  Lucca  to  the  Bagni  di  Lucca,  15  M.,  railway  in  1  hr.  (fares 
1  fr.  80,  90  c).  The  line  ascends  the  valley  of  the  Serchio.  6  M.  Pon(e 
a  Mariano  (115  ft.),  opposite  the  high-lying  village  of  Mariano.  Charming 
hill-country.  Above  (12'/;i  M.)  Borgo  a  Mozzano  (330  ft.)  is  the  Ponte  delta 
Maddalena  or  Ponte  del  Diavolo,  which  is  said  to  have  been  built  in  1322 
by  Castruccio.  —  16  M.  Bagni  di  Lucca,  the  terminus,  is  situated  a  little  above 
the  junction  of  the  Lima  and  the  Serchio. 

The  Bagni  di  Lucca  (season.  May  1st  to  Sept.  15fh),  which  were  known 
as  early  as  the  10th  cent,  under  the  name  of  the  'Baths  of  Cursena',  with 
springs  containing  salt  and  sulphur  and  varying  in  temperature  from  98° 
to  130°  Fahr.,  consist  of  several  diflerent  villages  in  the  valley  of  the  Lima. 
They  are  much  frequented  by  English  and  American  visitors.  Ponte  a 
Serraglio  (ca.  410  ft.),  the  chief  of  these  villages,  is  picturesquely  situated 
on  the  bend  of  the  rivulet.  Here  are  "Pagninfs  Hotel  d^Ewope  el  d^Amirique, 
'Pera's  Hdtel  New  York,  and  the  Grand  H6iel  des  Bains  de  Lucques,  with 
little  difference  in  their  charges  (cheaper  in  Sept.);  the  Ca/^s  Posta  and 
Italia,  in  the  Piazza  del  Ponte;  the  hest  Baths;  a  Casino,  with  billiard  and 


to  Florence.  BAGNI  DI  LUCCA.  63.  Route.   449 

ball  rooms  ;  and  the  Poll  Office.  Good  furnished  apartments,  carriages,  and 
donkeys  may  be  had,  but  the  shops  are  poor.  —  Adjoining  the  Hotel  Pagnini, 
on  the  Lima,  is  the  royal  Casino  Ridotti,  built  in  1840. 

Beautiful  avenues  ascend  gradually  from  Ponte  a  Serraglio  to  the  E.  to 
(1  M.)  Villa  (ca.  490  ft.;  'HOt.  Vittoria';  'EOl.  Royal  Conlinental  d:  du  Pare, 
pens.  6-8  fr. ;  S6t.  du  Pavilion ;  H61.  Queen  Victoria,  all  with  gardens;  English 
chemist),  where  are  the  best  and  quietest  apartment.s  (pleasantest  on  the 
river-side  of  the  main  street),  the  English  Church  (services  in  summer  at  8, 
10.30,  &  3;  chaplain  from  Pisa,  p.  438),  and  a  Casino  (with  reading  and  ball- 
rooms, concerts,  etc.),  and  to  p/i  M-)  Bagni  Caldi  {-Grand  Edtel  des  Thermes, 
formerly  the  chateau  of  the  Grand-Duke  of  Tuscany,  pens.  6-8  fr.).  The 
mud-baths  of  Bagni  Caldi  are  efficacious  in  rheumatism  and  gout;  and  there 
is  a  grotto  with  a  natural  vapour  bath.  The  freedom  from  dust,  glare,  and 
excessive  heat  makes  this  a  delightful  summer-resort.  —  To  the  baths  of 
I.ucca  belong  also  the  establishments  of  Bernabb  (named  after  an  inhabitant 
of  Pistoia  cured  here  in  the  16th  cent.),  Docce  Basse,  and  San  Oiovanni. 

The  valley  of  the  Lima  is  cool  and  well-shaded,  chiefly  with  chest- 
nut-trees, afibrding  pleasant  walks.  Only  the  paths  between  Ponte  a 
Serraglio  and  Villa  and  Bagni  Caldi  are  provided  with  benches.  There 
are  footpaths  on  both  banks  of  the  stream  as  far  as  the  suspension-bridge 
at  Fornoli.  Beautiful  excursions  may  also  be  taken  among  the  mountains, 
such  as  to  the  village  of  Lugliano,  to  Benahhio  (with  an  old  castle),  and 
to  the  top  of  the  Monte  Prato  Fiorito  (4260  ft.).  —  Boscolungo  (p.  408)  may 
be  reached  hence  in  about  6  hrs.  (carr.  ca.  30,  with  two  horjes  40-45  fr., 
including  an  extra  horse  up  the  hill)  by  following  the  Lima  valley  via 
Palleggio  and  Popiglio;  to  the  right  between  these  two  villages  lies  Lucchio, 
a  former  frontier  fortress  of  Lucca,  at  the  foot  of  abrupt  rocks. 

About  51/2  JI.  to  the  W.  of  Lucca,  on  the  S.  verge  of  the  Apuan  Alps, 
lies  the  Certosa  di  Farneia,  since  1903  the  mother  house  of  the  Carthusian 
order  expelled  from  France.  —  For  excursions  in  the  Apuan  Alps,  see  R.  21. 

Railway  from  Lucca  to  (lA'/j  M.)   Viareggio.  see  p.  123. 


The  Railway  to  Pistoia  at  first  traverses  the  plain  to  the  E., 
then  it  turns  to  the  N.  at  (23  M.)  Altopascio  and  runs  through  a 
fertile  undulating  district  to  the  broad  plain  of  the  Pescia.  Fine 
view,  on  the  left,  of  the  Alpi  Apuane ;  iu  the  distance  to  the  right 
rise  the  hills  of  Montecatini  and  Monsummano.  —  26  M.  Montecarlo, 
the  statiou  for  the  beautifully  situated  vUlage  (535  ft.)  on  the  ridge 
to  the  left,  with  an  old  castle. 

29  M.  Pescia  (200  ft. ;  Posta),  a  town  with  12,200  inhab.,  lies 
11/2  ^-  to  the  N.,  on  the  river  of  that  name,  in  a  beautiful  district, 
with  silk  and  paper  manufactories.  The  Cathedral  (restored  in  1693) 
has  remains  of  a  facade  of  1306,  a  13th  cent,  pulpit,  and  the  fine 
monument  of  Baldassare  Turini  (d.  1540)  by  Raffaello  da  Monte- 
lupo.  In  the  churches  of  San  Francesco  and  Sant'  Antonio  are  frescoes 
of  the  school  of  Giotto.  —  We  cross  the  Pescia  and  skirt  the  S.  base 
of  the  Apennines. 

33  V2  M-  Bagni  di  Montecatini.  —  Hotels.  'Grand  Hotel  La  Pack, 
with  lift  and  steam -heating,  R.  from  4,  B.  I'/j,  de'J.  3'/'.!.  D.  5-6,  pens,  from 
11  fr. ;  ^LocASii.\  JIaggiore;  °Alb.  Soannavisi  ;  Gr.  Hot.  Terminds;  Alb. 
d'Eukoi'a;  Hot.  de  la  Ville  et  Pens.  Asglaise,  well  spoken  of:  Corona 
d'Italia;  Alb.  delle  Terme;  Alb.  Kizza,  and  many  others.  —  >umerou3 
pensions. 

Bagni  di  Montecatini  (100  ft.),  a  frequented  health-resort  in  the 
fertile  valley  of  the  Nievole,  with  thermal  baths  and  springs  (season 
Baedeker.    Italy  1.    1 3th  Edit.  29 


450   Route  63.  PISTOIA.  From  PUa 

May- Nov.),  which  have  been  in  use  since  the  14th  centxury.  Two  of 
the  hathing-estahlishments,  the  Terme  Leopoldine  and  the  Stabili- 
mento  del  Tettuccio,  and  the  park  (Parco  Regio)  date  from  the  time 
of  Leopold  I.  (ca.  1727);  the  Stabllimento  delta  Fortuna,  the 
Torretla,  and  other  hathing-estahlishments  are  more  modern.  — 
In  summer  a  cable-tramway  ascends  to  the  little  town  of  Montecatini 
di  Val  di  Nievole  (1180  ft.;  Alb.  I'Appennino;  Alb.  Quisisana, 
etc.),  near  which  Uguccione  della  Faggiuola  (p.  442)  defeateil  the 
Florentines  in  1315.  The  old  castle  was  pulled  down  in  1554  with 
the  exception  of  one  tower. 

34  M.  Pieve  Monsummano,  the  station  for  Monsummano  (Alb. 
La  Pace,  unpretending),  a  little  town  at  the  W.  base  of  the  Monte 
di  Monsummano  [liibtt.;  crowned  by  a  ruined  castle),  the  most 
northerly  spur  of  the  chain  of  the  Monte  Albano.  It  contains  a 
monument  to  Giuseppe  Oiusti  (1809-50),  the  satirist,  a  native  of  the 
place.  In  the  Parish  Church  are  an  altar-piece  and  frescoes  by  Giov. 
da  San  Giovanni.  On  the  E.  slope  of  the  mountain,  2  M.  from  the 
station  (carr.  2-3  fr.),  lies  the  Orotta  di  Monsummano  or  Orotta  Giusti 
(260  ft.;  328  yds.  long,  13  yds.  wide),  with  hot  vapour,  discovered 
in  1849,  famous  for  the  cures  of  rheumatism  and  gout  which  it  has 
effected.  Season,  March -Oct.  (bath  2-3  fr.).  Alb.  Reale  Vittorio 
Emanuele,  at  the  entrance  to  the  grotto,  with  steam-heating,  R.  2-10, 
B.  11/2,  *i«j-  3,  D.  5,  pens.  7-20,  omn.  I1/2  f^-;  near  it  is  the  plainer 
de'pendance  Hot.  Verdi. 

About  3  M.  to  the  S.E.  of  Monsumruaiio  and  IV2  M.  to  the  S.  of  the 
grotto  lies  tbe  village  of  Montevettclini,  with  the  Villa  Medicea  (now  Borghes"), 
a  castle  ci:nverted  in  the  16-17tti  cent,  into  a  ducal  country  residence.  The 
neighbouring  Belvedere  (1615  ft.)  aflorda  a  fine  view  of  the  valley  of  the  Nie- 
vole and  the  valley  of  the  Arno  as  far  as  Florence. 

We  now  pierce  the  Monte  Albano  chain  by  a  tunnel  and  reach 
(381/2  M.)  Serravalle,  which  was  an  important  frontier-fortress  during 
the  wars  between  Lucca  and  Pistoia.  —  41 1/2  M.  Pistoia. 


Fistoia.  —  Hotels.  ''Albergo  del  Globo  (PI.  a;  B,  3),  Piazza  Cino, 
with  trattoria  and  caflfe,  R.  21/2-3,  omn.  V2  fr. ;  Albergo  b  Tbattoeia 
KossiNi  (PI.  b ;  C,  3),  Via  Cavour,  unpretending  but  good.  —  Trattoria  la 
Toscana,  Via  Curtatone  930;  Railway  Restaurant.  —  Wine  and  beer  at  Gian- 
nini''s,  outside  the  Porta  Barriera  (PI.  B,  4). 

Post  Office  in  the  Piazza  Cino  (PI.  B,  3). 

Cab  with  one  horse  60,  with  two  horses  80  c.  per  drive;  1st  hour 
1  fr.  40  or   1  fr.  70  c,  each  additional  hour  1  fr.  or  1  fr.  30  c. 

Principal  Attractions  (V2-I  day).  San  Giovanni  Fuorcivitas ;  Cathedral; 
Baptistery ;  Ospedale  del  Ceppo ;  Sant'  Andrea ;  Madonna  deir  Umilta. 

Pistoia  (210  ft.),  a  pleasant  little  town  with  13,400  inhab.,  is 
situated  at  the  N.  end  of  a  longitudinal  valley  of  the  Apennines,  in 
the  vicinity  of  the  Ombrone,  a  small  tributary  of  the  Arno,  at  the 
junction  of  the  Leghorn-Florence  and  Bologna-Florence  (R.  57) 
railway-lines.  It  has  broad,  well-built  streets,  and  important  manu- 
factories of  guns  and  iron-ware.  Pistols  are  said  to  have  been  in- 
vented at  Pistoia,  and  thence  to  derive  their  name. 


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to  Florence.  PISTOIA.  63.  Route.  451 

Pistoia,  the  Roman  Pittoria,  near  which  Catiline  was  defeated  and 
slain,  B.C.  62,  was  in  the  middle  ages  the  centre  of  the  fiercest  struggles 
between  the  Guelphs  and  Ghibellines.  In  the  year  1300  the  Cancelliefi 
and  Pancialichi,  or  Black  and  White  parties,  mentioned  by  Dante  (Inferno, 
xxiv.  143),  who  afterwards  extended  their  intrigues  to  Florence  and  in- 
fluenced the  fortunes  of  the  poet  himself,  were  formed  here.  Pistoia  had 
to  surrender  to  Florence  in  1351.  It  was  the  birthplace  of  the  celebrated 
jurist  and  poet  Cino  Sinibaldi  (1270-1336),  a  friend  of  Dante,  and  of  the 
satirist  Niccolb  Forteguerra  (1674-1735),  author  of  the  Ricciardetto. 

In  the  HisToEV  or  Art,  Pistoia,  which  somewhat  resembles  Florence 
in  miniature,  held  an  important  rank  in  the  early  part  of  the  middle 
ages,  and  was  foremost  among  the  Tuscan  republics  in  fostering  artistic 
progress.  The  older  churches,  such  as  the  Cathedral  and  Sanf  Andrea^ 
exhibit  a  leaning  to  the  Pisan  style,  which  was  extensively  in  vogue  in 
the  I2th  century.  At  Pistoia  we  also  meet  with  many  of  the  earliest  at- 
tempts at  sculpture  in  Tuscany,  which  are  much  ruder  than  contem- 
poraneous German  and  French  works  of  the  same  kind,  and  with  several 
of  the  names  of  the  oldest  artists  (G>~uamons  and  Adeodatus).  After  the 
14th  cent.  Pistoia  became  dependent  on  Florence  both  politically  and  in 
the  province  of  art.  The  town  continued  to  be  wealthy  and  ambitious 
enoagh  to  patronise  artists,  but  thenceforth  those  of  Florence  were  always 
employed.  Of  the  Goldsmith's  Art  we  have  an  important  specimen  in  the 
silver  altar  in  the  Cathedral. 

From  the  railway-station  (PI.  B,  41  we  proceed  straight  through 
the  Porta  Barriera  to  the  (5  min.)  little  Piazza  Cino  (PI.  B,  3),  the 
main  focus  of  traffic.  — •  A  few  yards  to  the  right,  in  the  Via  Cavour, 
rises  the  old  Tuscan-Romanesque  church  of  — 

San  Giovanni  Fuorcivitas  [EvangelMa  ;  PL  2),  erected  outside 
the  city  walls  about  1160,  with  a  somewhat  overladen  facade  adorned 
in  Pisan  fashion  with  rows  of  columns.  Over  the  entrance  is  a  relief 
representing  the  Last  Supper  hy  Gruamons ,  as  an  inscription  on 
the  architrave  records  (1162?).  The  church  is  closed  after  9  a.m.  ; 
key  at  Via  Pel.  Cavallotti  2,  close  by. 

Intkkioe.  On  the  right  is  the  "^ Pulpit ,  adorned  with  reliefs  on  three 
sides,  by  Fra  Quglielmo,  a  pupil  of  Niccolo  Pisano,  whose  antique  style  he 
followed  (about  1270);  in  front,  the  symbols  of  the  Evangelists.  Over  the 
next  altar,  the  -Visitation  of  Mary,  a  lit'esize  group  in  terracotta,  by  Luca 
delta  Robbia,  described  by  Burckhardt  as  'the  most  beautiful  group  of  the 
Renaissance  period'.  On  the  left,  a  handsome  basin  for  holy  water  by 
Oiov.  Pisano  (much  injured),  supported  by  the  cardinal  virtues,  with  alle- 
gorical figures  above. 

Opposite  is  the  Palazzo  Panciatichi-Cellesi.  — Following  the  Via 
Cavour,  and  diverging  from  it  by  the  Via  Francesco  Magni,  to  the 
left,  in  which  rises  (r.l  tlie  Cassa  di  Risparmio  (  savings-bank;  PL  8, 
C,  3),  erected  in  1902-5  in  the  Florentine  early-Renaissance  style 
hy  Tito  Azzolini,  we  reach  the  Piazza  dbl  Duomo  (PL  C,  2).  On  the 
right  rises  the  — 

Cathedral  (San  Jacopo)  of  the  12th  cent.,  remodelled  in  the 
13th,  with  an  apse  added  in  1599  by  Jacopo  Lafri.  In  the  vesti- 
bule, over  the  principal  entrance,  is  a  medallion  (Madonna  sur- 
rounded by  angels)  by  Andrea  della  Robbia  (1505).  The  barrel- 
vaulting  is  adorned  with  coffering  and  rich  fruit-garlands  from  the 
studio  of  the  Della  Robbia. 

The  Intekiob,  sadly  marred  hy  alterations,  consists  of  nave  and  aisles 
borne  by  sixteen   columns  and  two  piers.  —  By  the  wall  of  the  entrance 

29* 


452    Route  63.  PISTOIA.  From  Pisa 

is  the  font,  adorned  with  five  reliefs  (History  of  the  Baptist)  by  Andrea 
Ferrucci;  to  the  left  the  tomb  of  Bishop  Atto  (d.  1337),  restored  in  1786, 
the  reliefs  dating  from  the  original  monument.  —  At  the  beginning  of 
the  Right  Aisle  is  the  monument  of  Cino  Sinibaldi  (d.  1336;  see  p.  451), 
by  the  Sienese  master  Cellino  di  Nese  (1337),  the  earliest  type  of  an 
academic  tomb.  The  bas-relief  represents  Cino  lecturing  to  nine  pupils, 
among  them  Petrarch,  who  afterwards  composed  a  sonnet  on  his  death, 
exhorting  the  women  to  mourn  for  Cino  as  the  poet  of  love.  —  Opposite,  in 
the  Left  Aiblk,  the  Monument  of  Cardinal  Forteguerra  (p.  451),  designed 
in  1477  by  Andrea  VerroccMo  (whose  clay  model  is  in  Soath  Kensington 
Museum).  Above  is  Christ  in  the  Mandorla,  supported  by  angels,  beneath, 
Faith,  'Hope,  and  Charity  (of  which  the  first  and  last  have  been  spoiled 
by  Lorenzetto).  The  unattractive  sarcophagus,  with  angels  and  the  bust 
of  the  deceased,  and  the  frame  round  the  whole,  are  later  additions.  — 
The  Cappella  del  Sacramento  (left  of  the  choir)  contains  a  "Madonna 
with  St.  John  the  Baptist  and  St.  Zenobius  by  Lorenzo  di  Credit,  the  finest 
and  oldest  of  his  altar-pieces,  the  figures  strongly  reminiscent  of  Da  Vinci 
(1486).  To  the  left.  High-relief  bust  of  Bishop  Donato  de' Medici,  ascribed 
to  A.  KosselUno  (1475).  —  In  front  of  the  High  Altar  a  fine  bronze  cande- 
labrum (15th  cent.).  The  choir-stall.^  (restored  in  1623)  are  adorned  with 
beautiful  intarsia  work  by  Ventura  Vitoni  (1469)..  —  In  the  Cappella  San 
Jacopo  (right  of  the  choir)  is  a  rich  -Silver  Altar  executed  in  the  13th 
and  14th  cent,  (covered;  sacristan  30-50 c):  at  the  top,  the  oldest  part,  is 
Christ  in  the  Mandorla,  in  a  niche  beneath  is  a  sitting  statue  of  St.  James, 
surrounded  by  apostles  and  prophets,  by  Gilio  da  Pisa  (1353) ;  below  is  a 
large  silver  tableau  with  wings;  in  the  centre  fifteen  reliefs  of  subjects 
from  the  New  Testament  and  Apostles,  by  Andrea  di  Jacopo  d'  Ognabene  of 
Pistoia  (1316) ;  the  wings  consist  of  nine  reliefs  on  the  left,  from  the  Old 
and  New  Testament  by  Pietro  di  Leonardo  of  Florence  (1357),  and  nine  on 
the  right  from  the  life  of  St.  James  by  Leonardo  di  Ser  Oiovanni,  pupil  of 
Orcagna  (1371).  About  450  lbs.  of  silver  are  said  to  have  been  used  in  the 
execution  of  this  work  of  art.  An  earlier  silver  altar  was  plundered  in 
1295  by  Vanni  Fucci,  for  which  crime  Dante  gives  him  a  place  in  the 
Inferno  (xxiv,  124  et  seq.). 

The  Cbtpt,  borne  by  six  columns,  is  modernised. 

The  campanile  was  originally  a  fortified  tower  (1200),  called 
Torre  del  Podesta,  and  still  bears  the  arms  of  governors  of  the  town. 
The  three  series  of  arches  were  added  in  Pisan  fashion  when  the 
tower  was  adapted  to  its  present  purpose. 

Opposite  the  cathedral  is  the  octagonal  *Battistero  (^San  Gio- 
vanni Battista;  PI.  1),  erected  after  1339  by  Cellino  di  Nese  in  the 
Italian-Gothic  style,  according  to  Vasari  from  a  design  by  Andrea 
Pisano.  On  the  exterior  is  a  pulpit.  The  principal  portal  has  a  flue 
wooden  door.  The  large  square  font  is  embellished  with  richly- 
decorated  slabs  from  the  old  pulpit  (1199)  of  the  cathedral. 

Adjacent  is  the  *Palazzo  Pretorio  (PI.  12),  formerly  Pal.  del 
Podesth,  a  Gothic  building  of  the  14th  cent.,  with  a  modern  upper 
story.  It  now  contains  the  courts  of  justice.  The  picturesque 
*Quadrangle  is  enclosed  by  four  round  arches  resting  upon  piers, 
the  arcades  and  the  facade  are  adorned  with  numerous  painted  ar- 
morial bearings  of  the  Podestk's,  remarkable  for  their  admirable 
heraldic  style,  restored  in  1844.  To  the  left  of  the  entrance  are  the 
stone  table  and  seats  of  the  ancient  tribunal,  bearing  the  inscrip- 
tion of  1507 : 

ffic  locus  odit,  amat,  punit,  conserval,  honorat, 
Nequitiam,  leges,  crinii/ia,  Jura,  probos. 


to  Florence.  PISTOIA.  63.  Route.    453 

The  piazza  is  adorned  with  a  Statue  of  Cardinal  Forteguerra 
(d.  14731,  a  native  of  the  city  and  founder  of  the  Bihlioteca  Forte- 
(/«em(Pl.  7;  B,  0,  2).  —  Opposite  the  Pal.  Pretorio  is  the  Palazzo 
DEL  CoMUNB  (PI.  11 ;  Originally  Pal.  degli  Anziani),  erected  in  the 
Italian-Gothic  style  from  the  designs  of  Simone  di  Ser  Memmo,  of 
Siena,  in  1295-1395,  with  a  vestibule.  The  black  marble  head 
near  the  middle  window,  is  said  to  represent  Filippo  Tedici,  who 
sought  to  betray  the  city  to  Castruccio  (p.  442).  The  large  hall 
upstairs  contains  fine  wood-work  of  1534,  a  relief  of  the  Madonna 
by  the  Master  of  the  Marble  Madonnas  (15th  cent.),  and  a  *Relief 
in  marble  of  the  School  of  Verrocchio  (1494),  representing  the  arms 
of  the  city  supported  by  two  angels.  The  small  picture-gallery  con- 
tains nothing  of  importance. 

Passing  between  the  cathedral  and  the  Pal.  del  Comune  (by  the 
Via  Ripa  del  Sale),  we  next  visit  San  Bartolomeo  in  Pantano 
(PI.  C,  D,  2) ,  a  basilica  in  the  Tuscan  -  liomanesque  style  with 
open  roof,  borne  by  twelve  columns,  with  varied  capitals,  and  two 
pillars.  Sculptures  on  the  facade  by  Rodolftnus  of  Christ  and  the 
Apostles,  1167  ;  pulpit,  with  eight  reliefs  from  the  history  of  Christ, 
by  Ouido  Bigarelli  of  Como  (1250),  borne  by  two  lions  and  the 
statue  of  the  sculptor  (?)  —  We  now  return  and  take  the  Via  Pacini, 
on  the  right,  to  the  — 

Ospedale  del  Ceppo  (PI.  C,  2j,  erected  in  1277,  but  afterwards 
rebuilt.  On  the  vestibule  is  a  long  *Frieze  by  Oiov.  della  Robbia 
(1514-25),  consisting  of  reliefs  in  terracotta,  beautifully  coloured 
and  glazed,  representing  the  seven  works  of  mercy  (the  last  relief 
on  the  right,  unglazed,  was  added  in  1586  by  Fil.  Paladiniy,  be- 
tween are  figures  of  Caritas  and  other  virtues. 

A  little  to  the  E.,  in  the  Piazza  San  Lorenzo,  is  the  church  of 
the  Madonna  del  Lelto  (PI.  C,  2),  containing  a  miraculous  bed.  — 
From  the  Ospedale  we  follow  the  Via  delle  Pappe  and  the  Via  Abbi 
Pazienza  to  the  left,   then  the  Via  Sant'  Andrea  to  the  right,  to  — 

Sant'  Andrea  (PI.  B,  2),  a  basilica  of  the  12th  century.  On  the 
architrave  of  the  entrance  are  sculptures  of  1166  (?),  representing 
the  Adoration  of  the  Magi,  with  the  inscription :  'Fecit  hoc  opus 
Oruamons  maglster  bon.  et  Adeodatus  fratcr  eius'  (see  p.  451).  Over 
the  door  is  a  small  statue  of  St.  Andrew  in  Oiov.  Pisano's  style. 

iNTEEiou  (closed  0-5,  entrance  between  these  hours  through  the  house 
to  the  leftl.  The  narrow  nave  and  aisles  are  supported  by  twelve  columns 
and  two  piers.  The  hexagonal  "Pulpit  with  its  numerous  figures  is  one  of 
the  chief  works  of  Giovanni  Pisano  (p.  428),  a  copy  of  that  executed  by 
his  father  at  I'isa  (p.  430);  some  of  the  details  arc  by  pupils.  On  five 
sides  there  are  reliefs  at  the  top  ,  and  at  the  corners  are  single  figures  : 
Aaron,  Birth  of  Christ,  David,  Adoration  of  the  Magi,  Jeremiah,  Massacre 
of  the  Innocents,  Symbols  of  three  of  the  Evangelists  (the  eagle,  now 
wanting,  probably  served  as  a  wooden  lectern).  Crucifixion,  three  Prophets, 
Last  .ludgment,  four  angels  blowing  trumpets;  below  these,  at  the  cor- 
ners, are  six  figures  of  Sibyls  and  in  the  spandrels  twelve  Prophets,  the 
whole  being  borne  by  seven  columns  of  red  marble,  a  lion  and  lioness, 
a  human   figure,  and  a  winged  lion  with  two  eagles. 


454   Route  63.  PISTOIA.  From  Pita 

At  the  W.  end  of  the  Via  Sant'  Andrea  lies  the  spacious  Piazza 
Giuseppe  Mazzini  (PI.  A,  B,  2),  on  the  left  side  of  which  rises  the 
monastic  church  of  — 

San  Francesco  al  Prato,  an  Italian-Gothic  edifice  of  1294,  with 
remarkable  frescoes  by  pupils  of  Oiotto  (14th  cent.). 

In  the  Nave  fragmentary  frescoes  have  recently  been  discovered  beside 
several  of  the  altars.  —  In  the  Choir:  Life  of  St.  Francis  of  Assisi,  in  a 
series  of  free  reproductions  of  Giotto's  frescoes  at  Assisi  (much  damaged). 
Chapel  to  the  left  of  the  high-altar :  Apotheosis  of  St.  Augustine,  Marriage 
of  the  Virgin,  St.  Paul's  vision  on  the  way  to  Damascus,  Death  of  St.  Clara. 
1st  chapel  to  the  right  of  the  high-altar,  various  frescoes  of  the  Franciscan 
legends  (sadly  injured) ;  2nd  chapel,  Miracles  and  martyrdom  of  San  Donnino. 

The  former  Chapter  HoDSE  also  contain  frescoes  of  Scriptural  subjects 
and  of  scenes  from  the  life  of  St.  Francis  of  Assisi  and  a.  tew  antiquities: 
4.  Cast  of  the  city  arms  (p.  453),  by  Verrocchio;  16-21.  Decorated  panels 
from  the  old  pulpit  of  the  cathedral  (p.  452);  44.  Relief  of  the  Resurrec- 
tion, by  Ben.  Buglioni  (1490).  The  pillar  with  Lombard  ornamentation 
formerly  stood  in  front  of  the  church  of  San  Pietro  (see  below). 

We  return  through  the  Via  Bozzi  and  the  Via  Curtatone  (with 
the  Pal.  Cancellieri  on  the  right,  No.  945),  and  proceed  by  the  Via 
della  Madonna  to  the  right  to  the  church  of  the  — 

•Madonna  dell'  Umilti  (PI.  B,  3),  with  an  unfinished  facade, 
erected  in  1494-1509  by  Ventura  Vitoni,  a  pupil  of  Bramante.  A 
fine  vestibule,  with  barrel-vaulting  on  each  side  of  a  central  dome 
(as  in  the  Cappella  de'  Pazzi,  p.  607),  leads  to  the  handsome  oc- 
tagonal interior,  with  its  graceful  Corinthian  wall-pilasters.  The 
dome  is  by  Vasari. 

In  the  Corso  Umberto  Prime,  in  the  S.  part  of  the  city,  is  — 

Ean  Domenico  (PI.  B,  C,  3),  a  monastic  church  erected  in  1380. 

Interior  (closed  after  8  a.m.;  ring  at  the  house  on  the  right).  The 
frescoes  at  the  2nd  altar  on  the  right  (Madonna  and  Child)  and  the  2nd 
altar  to  the  left  (Crucitixion,  with  the  Virgin,  St.  John,  and  St.  Thomas 
Aquinas)  are  by  Fra  I'aolino  da  Pistoia.  Beween  the  4th  and  5th  Altars  on 
the  left,  monument  of  the  jurist  Filippo  Lazzari  (d.  1412),  by  Bern,  and  Ant. 
RosselUno  (1462-68). — Right  Transept:  Cappella  Rospigliosi^v/ith  the  miracle 
of  S.  Carlo  Borromeo,  by  Jacopo  da  Empoli,  and  two  tombs  (1628  and  1650) 
attributed  to  Bernini. 

Farther  on  in  the  same  street,  to  the  left,  is  the  church  of 
San  Paolo  (PI.  3;  C,  3),  with  a  Gothic  fa(;ade.  —  In  this  neigh- 
bourhood is  the  church  of  San  Pietro  (PL  4 ;  D ,  3) ,  with  an 
early-Tuscan  exterior  (unfinished),  in  which  as  late  as  the  16th 
cent,  the  mystic  marriage  of  the  Bishop  of  Pistoia  and  the  Abbess  of 
the  Benedictine  convent  was  celebrated.  The  interior  has  been 
modernized.  —  The  Viale  dell'  Arcadia  (PL  D,  1-3)  commands  a 
beautiful  view  of  the  city  and  the  Apennines. 

The  Villa  Puccini^  IV2  M.  to  the  N.  of  Pistoia,  has  beautiful  gardens 
and  sculptures  by  Pampaloni  and  others.  —  The  church  of  Groppoli,  5  M. 
to  the  W.  of  Pistoia,  contains  a  Romanesque  pulpit  of  1194,  with  stiff 
old  reliefs. 

The  Railway  to  Florencb  intersects  a  rich  tract  at  the  base 
of  the  Apennines.  4672  M.  Montale-Agliana.   On  the  left  the  pictur- 


to  Florence  PRATO.  63.  Route.   455 

esqiie  castle  of  Montemurlo  comes  into  view,  near  which  the  Floren- 
tine repuhlicans  Baccio  Valori  and  Filippo  Strozzi  were  defeated 
and  taken  prisoners  by  the  troops  of  Cosimo  I.  in  1537. 

51 V2  M.  Prato  in  Toscana  ^liO  ft. ;  Alb.  Giardino,  Via  Mag- 
nolfl ;  Stella  d'Jtaiia,  Piazza  del  Duomo ;  Trattoria  il  Commercio, 
Piazza  del  Duomo;  Caffe  delle  Logge ,  Piazza  del  Coinune),  a 
well-built  town  of  17,200  inhab.,  on  the  Biscnzio,  with  beautiful 
environs,  is  a  manufacturing  place,  of  which  straw-plait  is  one  of 
the  staple  commodities,  and  is  also  noted  for  its  excellent  bread  and 
biscuits  (biscotti,  cantucci).  It  formerly  belonged  to  Florence,  whose 
fortunes  it  shared  throughout  the  middle  ages.  In  1512  it  was  taken 
by  storm  by  the  Spaniards  under  Cardona.  The  old  town- walls  still 
remain. 

In  the  i5th  cent,  this  small  provincial  town  attracted  numerous  Floren- 
tine artists,  so  that  a  visit  to  it  is  indispensable  to  those  who  desire  to 
be  thoroughly  acquainted  with  the  Eaklt  Renaissance  style  of  Florence. 
An  important  work  by  Donatello  and  Michelozzo,  several  compositions  by 
Andrea  delta  Kobbia ,  and  a  superb  bronze  screen  bear  testimony  to  the 
importance  of  Prato  in  the  history  of  Renaissance  sculpture.  Among  the 
painters  of  the  place  were  Filippo  and  Filippino  Lippi ,  Sandro  Botticelli, 
and  Fra  Diamante.  The  church  of  the  Madonna  deUe  Carceri  at  Prato  also 
forms  a  very  striking  example  of  Renaissance  architecture.  This  edifice 
(erected  by  Giuliano  da  Sangallo)  exhibits  the  transition  from  early  to 
high  Renaissance,  and  shows  how  anxiously  the  architects  of  the  day 
directed  their  attention  to  the  design  of  a  Greek  cross  covered  with  a  dome. 

From  the  station  we  follow  the  Via  Magnolfl,  the  first  street  to 
the  left,  to  the  (4  min.)  Piazza  del  Duomo. 

The  Duomo,  begun  in  the  12th  cent,  in  the  Tuscan-Romanesque 
style,  was  completed  by  Giovanni  Pisano  in  1317-20  in  the  Gothic 
style.  The  campanile,  in  the  Lombard  style,  is  by  Niccolb  di  Cecco 
(1340).  On  the  facade,  rebuilt  after  1413  by  Niccolb  d'Arezzo,  is  a 
pulpit,  adorned  by  Donatello  and  Michelozzo,  in  1434-38,  with  *Re- 
liefs  (dancing  children)  and  a  fine  bronze  capital.  From  the  pulpit 
the  highly-revered  Sacra  Cintola,  or  'girdle  of  the  Virgin',  preserved 
in  the  cathedral,  is  periodically  exhibited  to  the  people.  Over  the 
principal  entrance  a  *Madonna  with  SS.  Stephen  and  Lawrence  in 
terracotta,  by  Andrea  della  Robbia  (1489). 

Interior  (very  dark).  Over  the  Principal  Entrance  the  Virgin  deliver- 
ing the  girdle  to  St.  Thomas,  by  Ridolfo  Qhirlandaio.  The  mural  paintings 
in  the  Cappella  della  Cintola  (the  Virgin  presenting  her  girdle  to  St. 
Thomas;  discovery  of  the  girdle  in  Palestine  by  a  native  of  Prato)  are  the 
best  works  of  the  kind  by  Agnolo  Gaddi  (early  work  ;  1365).  On  the  altar  is  a 
marble  statuette  of  the  Virgin  by  Giovanni  Pisano;  handsome  bronze  "Screen 
executed  in  14A4  by  the  Florentine  Bruno  di  Ser  Lapo  Mazzei  (1444),  the  frieze 
by  Pasquino  di  Matteo  da  Montepulciano  (1461-64).  A  small  room  adjoining 
the  chapel  on  the  right  contains  reliefs  (Death  of  the  Virgin,  Presentation 
of  the  Girdle)  in  the  style  of  the  School  of  Pisa.  —  In  the  Choir,  at  the 
back  of  the  high-altar,  are  the  "Histories  of  John  the  Baptist  and  St.  Stephen 
by  Fra  Filippo  Lippi  (1456-64),  in  fresco,  the  finest  work  of  this  master 
(somewhat  injured):  on  the  right  (above)  Birth  and  Naming  of  the  Baptist; 
his  Withdrawal  to  the  wilderness  and  his  Preaching;  Dance  of  the  daughter 
of  Herodias  (a  portrait  of  the  nun  Lucrezia  Buti,  the  painter's  mistress); 
by  the  window,  on  the  right:   Beheading  of  St.  John;   above  it  a  saint. 


456   Route  63.  PRATO. 

On  the  left  wall  of  the  choir  (above):  Birth  of  St.  Stephen,  his  Ordination 
and  Care  for  the  Poor,  Stoning  and  Interment  (among  the  admirable  por- 
trait-figures are  Cardinal  Carlo  de'  Medici,  the  donor,  and,  to  the  extreme 
right,  the  portrait  of  the  painter  himself,  wearing  a  black  cap).  The  con- 
tinuation of  the  scene  of  the  Stoning  is  on  the  window-wall ;  above  it  a 
saint;  on  the  ceiling  Evangelists  (best  light  in  the  forenoon).  —  The 
chapel  to  the  right  of  the  choir  is  embellished  with  frescoes  of  the  be- 
ginning of  the  16th  cent.,  ascribed  to  Stamina  and  Antonio  Viti(1):  to  the 
right  scenes  from  the  life  of  the  Virgin  (Birth,  Presentation  in  the  Temple, 
Marriage),  to  the  left  scenes  from  the  life  of  St.  Stephen  (Sermon,  Martyr- 
dom, Mourning  over  his  body).  In  the  right  transept,  in  a  Gothic  recess 
in  the  wall,  is  the  Death  of  St.  Bernard,  also  by  Fra  Filippo  Lippi  (very 
dark);  the  -Madonna  dell' Olivo,  a  statue  in  clay,  hy  Benedetto  daMmano; 
and,  below,  a  Pieta  (relief,  in  marble),  by  his  brothers  Oiiiliano  and  Oiovanni 
da  Maiano  (1480).  —  In  the  nave,  handsome  Pulpit,  resting  on  sphinxes 
and  snakes,  by  Mino  da  Fiesole  and  Ant.  Rossellino.  The  latter  also  executed 
the  admirable  reliefs  (1473)  of  the  Presentation  of  the  Girdle,  and  of  the 
Stoning  and  Mourning  of  St.  Stephen. 

Not  far  from  the  cathedral,  in  the  Via  Garibaldi,  is  the  little 
church  of  San  Lodovico  (called  also  Madonna  del  Buonconsiglio), 
with  a  good  relief  by  Andrea  della  Robbia  (generally  shut,  sacristan 
at  Via  San  Fabiauo  219> 

The  Via  Giuseppe  Mazzoni  leads  to  the  S.  from  the  cathedral 
to  the  Piazza  del  Comune,  in  which  rise  the  old  Palazzo  Pretoria 
(13th  cent.)  and  the  Palazzo  Comtjnale.  The  latter  contains  a 
small  picture-gallery  on  the  first  floor  (open  9-4;  fee  1/2  fr.). 

ScDLPTDRE  Room.  Relief  of  the  Madonna,  after  VerroccMo,  from  the 
studio  of  the  Delia  Robbia.  —  Main  Room.  4.  School  of  Giotto,  Madonna 
and  saints;  9.  Qiov.  da  Milano ,  Madonna  and  saints;  10.  Agnolo  Oaddi, 
History  of  the  Holy  Girdle;  Fra  Filippo  Lippi,  21.  Adoration  of  the  Child, 
23.  Madonna  with  St.  Thomas  and  other  saints,  29.  Predella;  22.  Filippino 
Lippi,  Madonna  with  John  the  Baptist  and   St.   Stephen. 

In  front  of  the  palace  is  a  Fountain  hy  Pietro  Tacca.  —  The 
Corso  Principe  Amadeo  leads  hence  to  the  church  of  San  Domenieo, 
a  Gothic  edifice  of  1281,  restored  in  the  17th  century. 

The  Via  Ricasoli,  the  prolongation  of  the  Via  Giuseppe  Mazzoni, 
leads  to  the  Piazza  Venti  Settembre  and  the  church  of  San  Fran- 
cesco ;  the  chapter-house  contains  mural  paintings  of  the  school  of 
Giotto,  ascribed  to  Nic.  da  Piero  Oerini  and  Lor.  di  Niccolb.  The 
fine  cloisters  adjoining  contain  the  sepulcral  monument  of  Gemi- 
gnano  Inghirami  (d.  1460),  by  Ant.  Rossellino  (J^  —  The  street  to 
the  left  of  the  church  leads  to  the  piazza  and  church  of  — 

*Madonna  dblle  Caecbbi,  erected  in  1485-91  by  Oiuliano  da 
Sangallo,  in  the  form  of  a  Greek  cross,  with  barrel-vaulting  and 
a  dome  resting  on  an  attic  story.  The  unfinished  exterior  of  the 
church  is  finely  adorned  with  marble.  The  interior  of  the  dome  is 
adorned  with  a  fine  terracotta  frieze  and  medallions  of  the  Evar.- 
gelists  executed  by  Andrea  della  Robbia  (1491)  from  Sangallos  de- 
signs. Handsome  choir-stalls;  high-altar  by  Sangallo  (1512).  — 
The  neighbouriiig  Fortezza  di  Santa  Barbara,  on  the  city  wall,  was 
built  by  Apulian  architects  under  Emp.  Frederick  II.,  but  has  been 
greatly  altered. 


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FLORENCE.  64.  Route.   457 

111  the  Via  Benedetto  Cairoli,  No.  5,  is  the  PaL  Novellucci,  with 
four  fine  bronze  dragons  by  Pietro  Tacca,  by  the  •windows.  —  A  small 
shrine  at  the  corner  of  the  Via  Santa  Margherita  contains  an  ad- 
mirable Madonna  by  Filippino  Lippi  (1497). 

Steam  Tramway  from  Prate  to  Florence,  see  p.  4fc'0  (No.  4).  The  cars 
start  beside  the  Madonna  delle  Carceri.  —  From  Prato  to  Sasso  (Bologna) 
through  the  Val  di  Bitenzio  (omnibus  to  Castiglione  del  Pepoli),  see  p.  407. 

About  3M.  to  the  N.W.  of  Prato  lies  the  little  village  of  i^jr/Jwe  (trattoria), 
near  which  rises  the  Monte  Ferrato  (1385  ft.),  with  a  quarry  of  serpentine. 
This  stone,  known  as  'marmo  verde  di  Prato',  is  much  used  by  the  builders 
of  Tuscany.  —  About?  M.  farther  to  the  N.  rises  the  Monte  dilavello  (3225  ft.), 
the  ascent  of  which  is  easy  and  not  destitute  of  interest.  The  inn-keeper 
at  Figline  provides  a  guide  (i'/z  fr.)  and  mules  (2  fr.).  Those  who  prefer 
to  return  from  the  summit  by  a  different  route,  descend  the  valley  to  the 
N.  to  (1  hr.)  Migliana  (trattoria),  or  to  the  E.  to  (1  hr.)  Schignano  (trat- 
toria) and  return  by  the  highroad  to  Figline  and  Prato.  To  walk  from 
Migliana  to  Prato  about  4  hrs.  are  required. 

58  M.  Sesto  Fiorentino  (Alb.  d'ltalia)  is  the  best  starting-point 
for  a  visit  to  Monte  Morello  (3065  ft.  ;  p.  554),  which  rises  to  the 
N.E.  —  591/2  M.  Castello  (p.  553);  61  M.  Rifredi  (p.  553).  — 
62'/2  M.  Florence. 

64.    Florence. 

Kailway  Stations.  1.  Stazione  Centkale  Santa  Maria  Novella 
(PI.  D,  3;  *Restau7-ani)  for  all  the  railways  (approached  from  the  Piazza 
della  Stazione;  exit  for  passengers  by  the  northern  line  in  the  Via  Luigi 
Alamanni;  for  the  other  lines,  adjoining  the  Piazza  delta  Stazione),  where 
omnibuses  from  most  of  the  hotels  meet  every  train  (^4-2  fr.,  incl.  luggage); 
cab  1  fr.,  at  night  1  fr.  30  c,  each  box  50  c.  Travellers  arriving  in  the 
evening  should  secure  a  cab  in  good  time,  as  there  is  often  a  scarcity 
of  conveyances.  —  2.  Stazione  Campo  di  JIarte,  on  the  E.  side  of  the 
town,  the  first  stopping-place  for  the  slow  trains  to  Arezzo,  Perugia,  etc.; 
too  far  from  the  middle  of  the  town  for  most  travellers.  —  Railway- 
tickets  may  be  obtained  at  the  Agemia  di  Qittii  delle  Ferrovie,  Via  dell' 
Arcivescovado  3  (PI.  E,  4),  at  French,  Lemon  <£•  Co.,  at  Bumberfs,  and  at 
Cook's  (see  p.  462).  —  Sleeping  Car  Go's  agent,  the  Inspector  (Coutrollore) 
at  the  central  station. 

Hotels  (nearly  all  the  better  hotels  have  lifts  and  steam-heating).  — 
On  the  Right  Bank  of  the  Arno,  best  situation  (gnats  troublesome  in  summer) : 
Grand  Hotel  (PI.  a;  C,  3),  Piazza  Manin  1,  R.  6-12,  B.  IV2,  de'j.  4V2,  D.  6, 
pens,  from  14,  onin.  I'/z  fr. ;  ^Gr.  Hotel  de  la  Ville  (PI.  b;  C,  4),  Piazza 
Manin  3,  with  re.^taurant,  R.  from  4,  B.  l'/2,  d^j.  4-5,  D.  6-8,  pens,  from 
12>/2,  omn.  IV2-2  fr.  ;  Hot.  Italie  (PI.  c;  C,  4),  Luugarno  Amerigo  Vespucci 
(principal  entrance  Borgognissanti  19),  R.  4-10,  B.  I1/2,  dej.  4,  D.  6,  pens, 
from  12'/2,  omn.  I1/2  fr. ;  Florence  &  Washington  (PI.  d;  C,  4),  Lungarno 
Amerigo  Vespucci  6,  R.  4-8,  B.  IV2,  dej.  3V2,  D.  4V'2-5,  pens.  8-14,  omn. 
IV2  fr. ;  Gr.  Hot.  New  York  (PI.  e;  D,  4),  Piazza  Ponte  alia  Carraia  1, 
K.  3-5,  B.  l>/2,  doj.  3,  D.  5,  pens.  8-13,  omn.  1  fr.,  these  two  frequented  by 
English  and  American  travellers;  "Hot.  Grande  Bretagne  (PI.  f ;  D,  E,  5), 
Lungarno  Acciaioli  8,  R.  from  5,  B.  IV2,  dej.  4,  I).  5,  liens,  from  12,  omn. 
1  fr. ;  "Paoli  (PI.  g;  G,  7),  Lungarno  della  Zecca  Vecchia  12,  R.  from  5, 
B.  11/2,  dej.  3V2,  D.  5,  pens,  from  12,  omn.  2  fr.,  frequented  by  English 
travellers.  All  these  are  of  the  first  class.  —  Somewhat  less  pretentious: 
Hotel  Bristol  (PI.  i;  C,  4).  near  the  Ponte  Carraia,  with  restaurant, 
R.  from  4,  B.  I1/2,  d^j.  3V2,  D.  5,  pens,  from  9,  omn.  IV2  fr.;  'Hot.  dWlbion 
(PI.  k;  1),  5),  Lungkrno  Acciaioli  10,  R.  21/2-.'!,  B.  IV2,  dej.  3,  D.  4,  pens, 
trora  8,  omn.  1  fr.  —  Plainer:  Hot.  Beuciiielli  (PI.  n;  E,  5),  Lungarno 
Acciaioli  16,  R.  from  21/2.   «.  'A,  d^j.  2V2,  D.  3,  pens.  6-8,  omn.  1  fr. 


458    Route  64.  FLORENCE.  Practical 

On  the  Left  Bank  of  the  Arno:  "Palace  Hotel  (PI.  pa;  C,  5),  Luagarno 
Guicciardini  7,  l!.  from  4,  B.  I'/z,  dej.  S'/z,  !>-  5,  pens.  10-15,  omn.  1  fr. 

Near  the  Piazza  Viitorio  Emannele  and  the  Piazza  delta  Signofia,  in  the 
centre  of  the  town:  Savoy  (PI.  o;  E,  4),  Piazza  Vitt.  Emanuele  7,  with 
booking  office,  R.  from  5J  B.  IV2.  dej.  4-5,  D.  5-7,  pens.  12-25,  omn.  V/2  fr. ; 
•Gr.  Hot.  du  ^"oRD  (PI.  no  ;  E,  4,  5),  Piazza  Sirozzi  5.  R  6-7,  B.  11/2-  dej.  3, 
D.  41/2.  pens.  9-12,  omn.  1  fr. ;  'Helvetia  (PI.  p;  E,  4),  Via  dei  Pescioni, 
R.  3-0,  B.  IV4,  dej.  3,  D.  4'/2,  pens,  from  10.  omn.  1  fr.,  frequented  by  Ger- 
mans; 'Gk.  Hot.  d''Eukope  (PI.  s;  D,  5),  Piazza  Santa  Trini'a  3,  R.  31/2-5, 
B.  11/2,  d^j.3,  D.  41/2,  pen?.  8-14  fr.;  "Cavoue  (PI.  t;  F,  5),  Via  del  Proeon- 
solo  5,  R.  3-4.  H.  11/4.  dei.  3,  D.  4>/2,  pens.  1(1-12,  omn.  1  fr. ;  Hot.-Pens. 
Les  Palmes,  Piazza  della  Zecca  2,  pens.  8-12  fr. ;  Hot.  MeTROPOLE  <fe  LoN- 
DRES  (PI.  q;  E,  5),  Via  dti  Sassetti  2,  R.  23/4-43/4,  B.  11/4,  dej.  3,  D.  4,  pens. 
8-11,  omn.  1  fr.  —  Porta  Rossa  &  Central  (PI.  u;  D,  5),  Via  Porta  Rossa  13, 
with  steam- heating  and  good  restaurant,  R.  from  3,  B.  I'/i,  pens.  (incl. 
wine)  from  9*/2,  omn.  1  fr. ;  Hot.  Berna  e  Parlamento,  Piazza  San  Firenze 
(PI.  F,  5),  pens,  from  6  fr.,  very  fair;  Alb.  Patkia,  with  trattoria,  R.  2, 
omn.  V4  t""- ;  Stella  d'Italia  e  San  Mabco,  plain  but  good,  R.  from  2V2, 
D.  4  fr.,  these  tivo  in  the  Via  de'  Calzaioli  (PI.  E,  5). 

Near  Santa  Maria  Novella  and  the  Railway  Station :  ~Gr.  Hot.  Baglioni 
(PI.  z;  E,  3),  Piazza  dell'  Unita  Italiana  7,  R.  from  41/2,  B.  l'/2,  d^i.  3Vt, 
D.  41/2  fr. ;  'Minerva  (PI.  v;  D,  3),  Piazza  S.  Maria  Novella  16,  R.  4-5,  B.  li/z, 
ddj.  3,  D.  4V2,  pens.  10-12,  omn.  1  fr. ;  Hot.  dk  Rome  (PI.  w;  D,  4),  Piazza 
S.  Maria  Novella  8,  R.  3-4,  B.  IV2,  dt^j.  3,  D.  4,  pens.  8-12  fr. ;  Hot.  de  Milan 
(PI.  y;  E,  4),  Via  de'  Cerretani  12,  R.  4-6V2,  B.  IV2,  dej.  3,  D.  41/2,  pens. 
8-12,  omn.  1  fr.  —  Alb.  Bonciani  (PI.  x ;  E,  3),  Via  de"  Panzani  23,  with 
restaurant,  R.  2-3  fr.,  L.  30,  B.  80  c,  pens,  from  8,  omn.  1  fr.,  plain  but 
good;  Hot.  Rebecchino-Bonciani  (PI.  re;  D,  3),  Piazza  della  Stazione  3, 
R.  2-3','2  fr.,  L.  30  c,  recommended  to  passing  tourists;  Hot.  Germania 
E  CoMo,  Via  dei  Fosi^i  31;  Alb.  della  Posta,  Piazza  deir  fnita  Italiana  4; 
Alb.  Polo  Xoed,  Via  de'  Panzani  7;  all  these  are  Italian  houses. 

Near  the  Cascine,  in  a  quiet  situation,  at  some  distance  from  the  chief 
sights:  °H6t.  Victoria  (Pl.h;  B,  2),  Lungarno  Amerigo  Vespucci  26,  Eng- 
lish landlady,  R.  3-10,  B.  IV2,  dej.  3V2,  D.  5,  pens.  9-15,  omn.  1  fr.,  closed 
in  summer;  Anglo-American  (pI.  1 ;  B,  2),  Via  Garibaldi  7,  well  spoken  of, 
R.  from  5,  B.  11/2,  dej.  3,  D.  41/2,  pens,  from  10,  omn.  1  fr. ;  Hot.-Pens. 
L'Alliance  (P1.  m ;  C,  3),  Via  Curtatone  4,  well  spoken  of.  R.  3  fr.,  L.  60  c, 
A.  1/2,  B.  IV2,  dej.  21/2,  D-  incl.  wine  i'/z,  pens.  7-9  fr. ;  Hot.  de  France  et 
Pens.  Anglaise  (PI.  fr. ;  B,  21,  Via  Solferino  6,  pens.  7-10  fr. ;  Hot.  Monte- 
BELLO,  Cor.so  Regina  Elena  6  (PI.  B,  2),  pens,  from  7  fr. 

Hotels  Garnis.  Hot.  Fenice  (PI.  r;  F,  4),  Via  de'  Pucci  19,  R.  2Vs-3, 
omn.  1  fr.,  very  fair;  Alb.  di  Spagna,  Via  de'  Calzaioli,  R.  IV2-2V2,  omn. 
^4  fr. ;   Hot.  Romagna,  Via  de  Panzani  4,  R.  from  l'/2  fr. 

Pensions  (generally  good).  In  the  Lungarno  (right  bank)  and  the  Ad- 
joining Streets.  Bellini,  Lungarno  Amerigo  Vespucci  10,  8-12  fr.,  hand- 
somely furnished ;  Piccioli,  Via  Tomahuoni  1,  8-10  fr. ;  Lucchesi,  Lun- 
garno della  Zecca  Vecchia  16,  8  fr. ;  Qcisisana,  Lungarno  della  Borsa  6, 
6-8  fr. ;  Lottini,  Lungarno  Corsini  6,  8-7  fr. ;  Balesti::,  Piazza  Mentana  5, 
5-7  fr. ;  SiMi,  Lungarno  delle  Grazie  8;  Miss  White,  Piazza  Cavalleggieri  2, 
adjoining  the  Lungarno  delle  Grazie.  6-10  fr. ;  Jennings-Riccioli,  Corso 
dei  Tintori  37.  —  On  and  near  the  left  bank  of_the  Arno:  Clark-Molini- 
Babbessi  (pens.  7-9  fr.),  Francioli-Crocini  (5-(  fr.).  Miss  Godkin,  all  in 
the  Lungarno  Guicciardini  (Nos.  17,  11,  and  1);  Benoit  (6-7  fr.),  Kirch, 
GiANNiNi  (5-7  fr.),  these  three  in  the  Lungarno  Serristori  (Nos.  13,  11,  21); 
VVisKovATOFF,  Lungarni  Torrigiani  7,  3rd  floor,  5-5V2  fr. ;  Laurent,  Via 
del  Presto  11,  3rd  floor,  near  S.  Spirito ,  pens.  6-7  fr. ;  Tofani  ,  Piazza 
Santo  Spirito  23;  Orsi  ,  Via  San  Frediano  8,  8-8  fr.  —  Near  the  Piazza 
del  Duomo.  Miss  Plucknett,  Piazza  Vitt.  Emanuele  1  (Palazzo  Bocconi), 
7-8  fr. ;  Pendini,  Via  degli  Strozzi  2  bis,  cor.  of  the  Piazza  Vitt.  Emanuele, 
6-9  fr. ;  Nardini,  Piazza  del  Duomo  7,  at  the  corner  of  the  Borgo  San 
Lorenzo,  5-7  fr.  (R.  without  board  2-3  fr.);  Solifen,  Via  Cavour  2,  6-8  fr. ; 
FoNDiNi,  Via  Cavonrll,  6  fr. ;  Cipoletti,  Via  Cavour  70,  6-8  fr. ;  Del  Fabro, 


Notex.  FLORENCE.  64.  Route.    459 

Via  Ricasoli  24,  6  fr. ;  Biondi,  Borgo  degli  Albizzi  27,  5-6Vi  I'r. ;  Onofri, 
Via  deir  Orivolo  35,  iV*"''  f'-i  Chapman,  Via  Pandoltini  21,  7-9  fr.  (fre- 
c|uented  by  Americans).  —  Eastern  Quarters.  Selb,  Via  della  Colonna  11, 
B-7  fr. ;  CoNsiGLi,  Piazza  d'Azeglio  14,  6  fr. ;  Fbattigiani,  Viale  Carlo 
Alberto  5;  Bokgagni,  Viale  Principe  Amedeo  18,  6-7  fr. ;  Mmb.  Jknnt 
GiACHiso  (Enslish),  Piazza  d'Azeglio  13,  from  6  fr. ;  White  House  (Casa 
Bianca),  Via  Farini  1;  Miss  White,  Sanest,  Via  dell:i  Pace  Xos.  8  and  7; 
KiAGGi ,  Via  I  berubini  6;  Kiccioli,  Via  dei  lintori,  67  fr.  —  Northern 
Quarters.  Villa  Tkollope  (R.  C.  Hope),  Via  Salvagnoli  1,  weJl  situated, 
pens,  from  8  fr. ;  Woggi  ,  Gozzoli,  Castbi  ,  Pia/.za  delT  Indipendoii/.a 
(N'os.  3,  4,  5);  Lattau,  Lapi,  Via  Ventisette  Aprile  16  and  27;  Banchi.  Viale 
Principessa  AJargherita  54,  6-6  fr. ;  Prok.  Scoti,  Viale  Principessa  1,  5  6  fr. ; 
CicoGNANi,  Via  Xazionale  39.  —  Aear  the  Central  Station.  Rochat,  Via  de' 
Fo,<!si  16,  5  8  fr. ;  Della  Casa,  Via  de"  Banchi  2;  JloKisi,  Via  Sant'  Antonio  8, 
6-7  fr. ;  Champeskal,  Via  Xazionale  10.  5-6  fr. ;  Skanuixavisk  PtxsioN, 
Via  Nazionale  14,  5-6  fr. ;  Pieratelli,  Via  Kazinnale  15;  Monarini,  Via 
JJazionale  22.  —  Near  Vie  Cascine:  Villiso  Montebkllo  (lU-12  fr.),  Pag- 
NiNi's  Pens.  Pristemps,  Gibard  (7-8  fr.),  Eden  Hotel  ife  Peks.  Spixeiti,  Via 
Blontebello  (N.'S.  36  34,  1.  30);  Levelis-Marke,  Via  Montebello  19;  Cam- 
mahano-Rochat,  Via  Curtatone  1 ,  5  7  fr. ;  Fiokavanti  ,  Via  Solferino  6, 
5-7  fr. ;  PoBciXAi,  Via  Solferino  7,  3rd  flour,  5-6  fr. ;  Beetelli-Scott,  Via 
Pitlestro  2a  (English);  Lelli  ,  Via  Palestro  3;  Azzeroni  ,  Corso  Regina 
Elena  4;  Le  Rollakd,  Via  Solferino  8,  7-10  fr.  (English);  Miss  Constas- 
TiN,  Via  Solferino  8,  7-10  fr.  (English). 

Furnished  Apartments  (let  even  for  a  few  days;  comp.  pp.  xx,  xxx). 
Capitani,  A'ia  Tornabuoni  11-13;  ^yackermann.  Via  Montebello  52,  3rd  floor; 
dnli,  Via  Montebello  17  <fc23;  Braschi,  Via  Garibaldi  10:  Brandi.  Via  Sol- 
ferino 14;  Petliiii,  Borgognis.=anti  10;  Prof.  Thurnheer.  Piazza  della  Signo- 
ria  3,  3rd  floor;  Fiacchini,  Piazza  Santa  Croce  5;  Contessi,  Piazza  delT 
Indipendenza  13;  Rossetti.  Via  Taddea2;  Casa  Dominici,  Lungarno  Cellini  11 
(PI.  G,  U,  8) ;  Giulia  Rosii,  Piazza  del  Carmine  6.  Lodgings  to  let  are  generally 
indicated  by  a  placard,  and  may  also  be  found  by  application  to  a  hon.se- 
agent  (Sclavi,  Via  del  Giglio  6;  Lapi,  Via  de'  Fofsi  3,  and  others).  The 
charges  depend,  of  course,  on  the  situation.  Two  turni.'thed  rooms  cost 
on  an  average  50-60  fr.  per  month,  in  summer  40  fr. ;  attendance  about  5  fr. 
Completely  furnished  houses,  with  cooking ,  may  be  hired  for  250-500  fr. 
per  month.  The  Lungarno,  the  new  quarters  near  the  Cascine,  Piazza  Santa 
Maria  Novella.  Piazza  deW  Indipendenza,  etc.,  may  be  mentioned  as  healthy 
and  pleasant  situations.  The  Piazza  Pitti  i.«,  perhaps,  the  most  desirable 
quarter  on  the  left  bank  of  the  Arno. 

Restaurants  (comp.  p.  xxi).  'Doney  et  Neveux,  Via  Tornabuoni  16,  first 
floor,  expensive,  dej.  4,  D.  (about  6  p.m.)  5  fr. ;  "Giacosa  (Bono),  Via 
Tornabuiini  11,  flr.'*t  floor,  d^j.  31/2,  D.  5  fr.  —  Trattorie  in  the  Italian 
style  (those  in  the  centre  of  the  city  are  disagreeably  crowded  on  Frid. 
afternoons):  Gamhrinus  Salle  (see  below);  'Helini,  Tazza  d'Oro,  "Etruria, 
*La  Toscana,  Patria  (see  p.  4.o8),  all  in  the  Via  de' Calzaioli;  'Restaurant 
Sport,  Via  de"  Lamberti  3;  "Porta  Rosfa,  Via  Porta  Rossa  13  [see  p.  458l; 
Bonciani,  Via  de'  Panzani  23  (p.  4581;  Ris'.or.  Claudia,  Via  Cavour  19; 
Giotto,  Pancarii,  Piazza  del  Duomo  (Xos.  13,  14).  both  moderate;  Giglio, 
Piazza  San  Firenze  5,  plain  but  good;  Hondo,  Via  Martelli,  unpretend- 
ing. —  Open- Air  Kestaubants.  '~Ristorante  delle  />««  Terrazze.  "Via  Pon- 
tassieve,  outside  the  Barriera  Aretina  (beyond  PI.  I,  7);  Ristor.  Boganini, 
Via  Fiorenzuola  3,  outside  the  Barriera  della  Cure  (comp.  PI.  I,  1). 

Birrerie  (comp.  p.  xxiii).  Gambrinus  Halle  (PI.  E,  4),  Piazza  Vitt. 
Emanuele,  with  seats  outside  and  large  concert-room  (Munich  beer),  usually 
crowded  in  the  evening  and  imperfectly  ventilated;  ilucke  (also  restaurant). 
Via  de'  Lamborti  5  (PI.  E,  5),  Reininghaus,  Piazza  Vitt.  Emanuele  3,  Munich 
and  Pilsener  beer  at  both,  frequented  by  Germans.  —  Wine,  beer,  pre- 
served meats,  etc. :   Corsini,  Marugg,  both  in  the  Via  Porta  Rossa. 

Wines  (comp.  p.  xxiii).  Fiaschetleria  Jglietti,  Piazza  Vitt.  Emanuele; 
Barile,  Via  de"  Cerchi  10  (PI.  E,  F,5):  Paoli,  Via  Tavolini  (p.  477);  these 
two  also  provide  plain  meals. 


Day   1 

Night 

1.  — 

1.  20 

—  80 

—  75 

1.30 
1.  5U 
1. — 
1.— 

460   Route  64.  FLORENCE.  Practical 

Cafes (comp.  p.  xxiii),  less  inviting  than  in  many  other  Italian  towns: 
'Birreria  heininghaus  (p.  459),  Caffi:  Centrale,  both  in  the  Piazza  Vitt. 
Emanuele,  with  seats  in  the  open  air;  Caffr  del  Bottegone^  Piazza  del  Duomo, 
cor.  of  the  Via  Martelli;  Caff^  Elvetico.  Piazza  del  Duomo  14;  Oiappone, 
Piazza  della  Signoria,  unpretending. 

Confectioners  ( Pasticeerie).  'Doney  et  Jfeveux ,  Via  Tornabuoni  16  (re- 
commended to  ladies);  'Oiacosa  (Bono),  Via  Tornabuoni  11  (good  coffee, 
70  c.);  'Oilli,  Via  degli  Speziali  6,  cor.  of  the  Piazza  Vitt.  Emanuele  and  Via 
de'  Calzaioli  10;  Digerini,  Jftirinai,  <£•  Co.,  Via  de'  Vecchietti7;  Cloetta,  Via 
de'  CerretanilO;  Balboni  d:  Mueller,  Via  della  Vigna  Nuova,  Vienna  bread 
at  these  two.  —  Tea-Rooms.  'Floreal  Tea  Rooms  (Digerini,  Marinai,  &  Co., 
see  above),  Via  de'  Vecchietti  7  (concert  4.30-6);  Albion  Tea  Rooms,  at 
Vieusseux'  (p.  462),  Via  de'  Vecchietti  5  (week-days  11-6.30;  closed  on  Sun). 

Havanna  Cigars.  Parenii,  Via  Tornabuoni  15;  BoccioU.,  Via  Porta 
Kossa  15.  

Cabs  are  stationed  in  most  of  the  piazzas.  The  following  is  the  tariflf 
within  the  Cinta  Daziaria  or  line  of  municipal  imposts.  The  night- 
lares  are  exigible  from  one  hour  after  sunset  till  sunrise. 

Per  Drive  (including  drive  from  the  station  to  the  town) 
By  Time:  1st  1/2  hr 

2nd  V2  lir ■ 

„  each  additional  ^,'2  hr 

Outside  the  town,  for  the  first  V2  hr.  2  fr.,  for  each  '/a  hr.  additional 
1  fr.  —  Each  large  article  of  luggage  50  c,  light  articles  free. 

Electric  Tramways  (comp.  the  Plan  and  the  Map,  p.  548;  7a.m.- 
10  p.m. ;  tips  not  customary).  Details  of  both  the  electric  and  steam  tram- 
ways may  be  found  in  the  '■Orario  dei  Tramwayt  fiorentini'  (10  c.,  obtainable 
at  the  office  in  the  Piazza  del  Duomo),  as  well  as  in  the  larger  time-tables 
mentioned  on  p.  xvi. 

1.  Piazza  de'  Giudici  (PI.  E,  6)-Lungarno  della  Zecca  Vecchia  (PI.  G,  H, 

1,  7)-Viali  di  Circonvallazione  -  Piazza  degli  Zuavi  (PI.  A,  B,  1,  2);  every 
10  min.  (fares  10-20  c).  —  2.  Piazza  del  Duomo  (W.  side;  PI.  E,  4)-Porta 
al  Prato  fPl.  B,  C,  l)-Ponte  alle  Mosse  -  Cascine  (Piazzale  del  Ee ;  p.  553); 
every  1/2  hr.  (2()  c).  —  3.  Piazza  del  Duomo-Vovis.  al  Prato-Barriera  Ponte. 
air  Asse-Rifredi  (p.  553;  15  20  c.)-Castello  (p.  553;  20-23  c. ;  in  35  min.)- 
Sesto  (p.  554;  30-35  c);  every  10-20  minutes.  —  4.  Piazza  del  Duomo  (S.  side; 
PI.  F,  4)-Barriera  della  Querce  (comp.  PI.  I,  3)  -  Le  Lune-San  Dcmenico 
(p.  565;  30  c.)-Kegresso  di  Maiano  (p.  555;  iO  c.) - Fiesole  (p.  556;  50  c.); 
every  20  rain,  in  ^jt  hr.  The  open  extra  car  stops  at  San  Domenico.  — 
5.  Piazza  del  Duomo -\ia,  Ghibellina  (PI.  F,  G,  H,  5-7) -Via  Fra  Angelico 
(PI.  I,  7,  8)-Barriera  Afl'rico-Ponte  a  Jlensola  (p.  557;  iQ-2b  c.)- Settignano 
(p.  557 ;  30-35  c.) ;  every  22  min.  (to  Settignano  only  every  66  min.  in  the  morn- 
ing) in  1/2  hr.  —  6.  Piazza  del  i)!(omo  -  Piazza  Beccaria  (PI.  I,  6)-Barriera 
Aretina-iJorezzano ;  every  11  min.  (20-25  c).  —  7.  Piazza  del  Duomo-Fiazza, 
de'  Giudici  (on  the  return  journey  by  Piazza  Santa  Croce)-Ponte  alle  Grazie 
(PI.  E,  F,  6,  7)-Barriera  .San  Kiccolo  (PI.  H,  8;  10-15  c.)  -  JSagrHo  a  Ripoli 
(20-25  c.) ;  every  17  minutes.  —  8.  Linea  del  Viale  dei  Colli  (p.  549) :  Piazza 
del  Duomo -Ponte  alle  Grazie-Barriera  San  Niccolo- Piazzale  Michelangelo 
(PI.  F,  G,  8;  p.  549;  2Uc.)-Torre  al  Gallo  (25c.;  below  the  view-poiut 
mentioned  at  p.  55i.)-Gelsomino  (see  below;  30  c);  every  34  min.  in  '/^  hr.  — 
The  afternoon  cars  to  Fiesole  and  Gelsomino  are  usually  crowded  during 
the  tourist-season. 

Steam  Tramways.  1.  Liiiea  del  Clianti:  Porta  Somana  (PI.  A,  7)- 
Poggio  Imperiale  (p.  550;  5  min.  below  the  Institute)-Gelsomino  (.<;ee  above; 
10-20  c.)-Certosa  (p.  .551;  20-35  c.)-Tavarnuzze-San  Casciano  (90-1  fr.  20  c.)- 
Greve   (1  fr.  30-1  fr.  70  c);   to   the   Certosa  16  times   daily  in   23  min.  — 

2.  Piazza  Cestello  (PI.  B,  C,  4)-Porta  San  Frediano  (PI.  B,  4)-Casellina- 
Lastra  (p.  441)-Ponte  a  Signa-Porio  di  Mezzo.  —  3.  Piazza  della  Stazione 
(PI.  D,  3)-Brozzi-Po9'5'!0  a  Caiano  (p.  553);  6  times  daily  (70-90  c.)  in 
IV2  hr.  —  4.    Via  de"  Pecori  (PI.  E,  4)-Pia7.za  della  Stazione -Campi- Prato 


Notes.  FLORENCE.  6i.  Route.    461 

(p.  456);   6  times  daily    (80c.-l  fr.  10  c,    relurn- tickets  95c.-l  fr.   60  c.) 
in  I'/z  hr. 

Omnibnses  (7  a. in. -9  p.m. ;  10  c.)  from  the  Piazza  delta  Signoria  to  the 
Porta  Komana  (PI.  A,  7;  also  reached  by  a  line  from  the  Piazza  del  Duorao), 
the  Poi-la  San  Frediano  (PI.  B,  4),  the  Porta  al  Pralo  (PI.  B,  0,  1),  the 
Piazza  delV  Indipendenza  (PI.  F,  2),  along  the  Via  San  Gallo  to  the  Ponte 
Rosso  (PI.  I,  1),  along  the  Via  Cavour  to  the  Barriera  delle  Cure  (comp. 
PI.  I,  1),  along  the  Via  Gino  Capponi  (PI.  H,  I,  3)  to  the  Barriera  ddla 
Qiieixe  (comp.  PI.  I,  3),  to  the  Piazza  d'Azeglio  (PI.  I,  5),  and  the  Piazza 
Beccaria  {Porta  alia  Croce;  PI.  I,  6). 


Post  Office  (PI.  E,  5,  B)  in  the  Uffizi,  open  daily  from  8  a.m.  to  9  p.m. 
(branch-oftices  at  the  railway-station  and  at  Via  delta  Vigna  Nuova  15, 
Via  de'  Vecchietti  6,  Piazza  San  Lorenzo  1,  Piazza  Cavour  5,  Via  Gius. 
Verdi,  and  Piazza  di  Porta  Rumana  1). 

Telegraph  Office  in  the  Palazzo  Nonfinito  (PI.  F,  5;  p.  504),  Via  d^l 
Proconsolo   12;  also  at  the  above-mentioned  branch  post-offlces. 


Consulates.  British  Consul  General,  Major  Percy  Chapman,  Via  Torna- 
buoni  2-4;  vice-consul,  Mr.  Placci.  American  Consul,  Mr.  Jerome  A.  Qua>/, 
Via  Tornabuoni  10;  vice-consul,  Mr.  Spirilo  Bernardi.  —  International 
Lawyer.  Mr.  Thomas  Childs,  M.  A.,  Counsellor  at  Law  and  Advocate,  Via 
Ginori  l4. 

Physicians  (hour  of  consultation  generally  2-3) :  Dr.  Alex.  R.  Coldstream, 
Lungaruo  Guicciardini  11 ;  Dr.  Gerald  Garry,  Via  dei  Vecchietti  2 ;  Dr. Edward 
A.  Gates,  Via  Palettro  A  ;  Dr.  Henderson,  Piazza  Strozzi  2;  Dr.  Kirch  (Ameri- 
can), Via  MontebcUo  5;  Dr.  C.  E.  Parke  (American),  Via  Garibaldi  6; 
Dr.  Faiijas  (German),  Via  del  Campidoglio  2;  Dr.  Grazzi,  Borgo  dei  Greci  10; 
Dr.  Krayl  (German),  Piazza  degli  Ottaviani  3  (PI.  D,  4);  Dr.  Levier  (Swiss), 
Via  Jacopo  da  Diacceto  16;  Prof.  i/»«rt(/ (Italian),  Via  Masaccio  14  (speaks 
German);  Dr.  Celoni  (for  children),  Piazza  dell'  Indipendenza  9;  Dr.  Paggi, 
Via  Nazionale  12  (speaks  English);  Dr.  Giglioli,  Via  del  Campidoglio  2 
(speaks  English);  Dr.  R.  Baldelli  (homeopath;  speaks  English),  Via  Vigna 
Nuova  29;  Dr.  Olivetti  (for  children),  Via  Cavour  77.  —  Dentists:  Schaffner 
(American),  Via  dei  Cerretani  8;  Dr.  Heims  (American;  away  in  summer). 
Via  Borgognissanti  5;  Dunn,  Via  Tornabuoni  9;  Benvenuti.  Via  delF  Arci- 
vescovado  2.  —  Hospital  (Maison  de  Santi)  in  the  Villa  Betania,  outside 
the  Porta  Komana,  corner  of  the  Viale  del  Poggio  Imperiale  and  the  Via 
Torricelli,  for  the  sick  of  all  creeds  and  nationalities;  7-10  fr.  per  day, 
poor  patients  gratis.  English  Hospital,  Villa  Regina  Natalia,  Via  Bulog- 
nese  48,  charge  7-12  fr.  per  day. 

Chemists.  English  :  Roberts  &  Co.,  Via  Tornabuoni  17  ;  Anglo-American 
Stores,  Via  Cavour  39.  German:  J/^!Vna<ermann,  Via  Borgognissanti  15,  Far- 
macia  Internazionale,  Piazza  Vitt.  Emanuele  5;  Janssen,  Via  dei  Fossi  10 
(PI.  D,  4);  Homo:opathic  Pharmacii,  Via  Vigna  Kuova  20.  —  Nurses  may 
bo  engaged  through  the  chemists  or  by  application  to  the  Holland  Institute 
of  Trained  Nursei,  Piazza  d'Arno  5,  to  the  English  Nursijig  Sisters,  Via 
Ferruccio,  or  to  the  Marienheim  (German).  Via  de'  Serragli  110.  —  Teresa 
Orlandini,  Via  dei  Geppi  3,  visits  ladies  at  their  own  residences  for  hair- 
dressing,  shampooing,  etc. 

Baths.  Stabilimenlo  Balneario,  Via  de'  Pecori  3  (PI.  E,  4);  at  Via  Boni- 
fazio  Lupi  (PI.  G,  1;  bath  SO  c,  good);  Baroncelli,  Borgo  Santi  Apostoli  16 
(t  fr.);  Franceschi,  Via  deUa  Vigna  Nuova  19  and  Via  di  Parione  28.  — 
River-baths  on  the  Amo,  in  summer. 


Shops.  The  best  shops  are  to  be  found  in  the  Via  Tornabuoni,  Via 
de'  Fossi,  and  Via  de'  Cerretani.  —  The  establishment  Alle  Cittu  d  Italia 
(Fratelli  Boeconi),  Via  degli  Speziali  (PI.  E,  5),  is  a  branch  of  the  large 
'general  provider'  mentioned  at  p.  130. 


462   Route  6d.  FLORENCE.  Practical 

Booksellers.  B.  Seeber ,  Via  Tornabuoni  20;  Flor  &  Findel,  Lungarno 
Acciaioli  24;  Bocca,  Via  de'  Cerretani  8;  George  A.  Cole,  Via  Tornabuoni  17; 
Pagtji^  Via  Tornabuoni  15;  Bemporad  e  Figlio ,  Via  del  Proconsolo  7; 
Olschki,  Lungarno  Acciaioli  4  (old  books).  —  Music  and  pianos  may  be 
hired  of  Brizzi  &  Nicolai,  Vi;i  Cerretimi;  O.  Ceceherini  A-  Co.,  Piazza 
Antinori.  —  Keading  Rooms.  •  Vieusseux,  Via  dei  Vecchietti  5  fPl.  E,  4),  open 
8  a.m.  to  10  p.m.,  admission  50  c,  per  week  3,  per  month  7,  per  quarter 
14  fr. ;  Circolo  Filologico,  Via  Tornabuoni  4  (subscription  for  a  month  4  fr.). 
—  Circulating  Libraries.  "  Vieusseux,  see  above  (1  fr.  per  week) ;  Yanni,  Via 
Tornabuoni  12,  Italian  and  French  books;  Circolo  ArtUtico,  Via  de'  Pucci 
(PI.  F,  4),  art  periodicals,  etc.  —  Newspapers.  La  Nazioiie,  Fieramosca 
(o  c.),  The  Jfalian,  Oazette  (weekly;  '20  c.),  etc.  —  Literary  Office  (Miss 
Meille),  Via  Por  Santa  Maria  10.  —  Artist's  Colours,  Gins.  Qiannini,  Via 
Tornabuoni  12  and  Piazza  Pitti  17. 

Photographs.  Alinari,  Via  Nazionale  8  and  Via  degli  Strozzi  1;  Brogi, 
Via  Tornabuoni  1 ;  Anden'on,  Via  de'  Cerretani  10,  pictures  and  sculpture 
at  these  three;  Pini,  Lungarno  Acciaioli  10  (landscapes,  pictures,  sculp- 
ture); Compagnia  Rotografica ,  Lungarno  Acciaioli  2  bis  (photographic 
materials  also);  al^o  at  the  stationers'  (cartolerie). 

Antiquities.  Costmilini,  Lungarno  Guicciardini  7 ;  Ciampolini,  Via  del 
Sole  11;  OUvotti,  Via  Tornabuoni  14;  Pacini  (Etruscan  articles),  Via  dei 
Fossi  25. 

Works  of  Art.  Pictores  ;  Pisani,  Via  Borgognissanti  8;  Masini,  Piazza 
Ponte  alia  Carraia  3.  Copies  of  paintings  may  be  obtained  at  Pisani's, 
or  ordered  direct  from  the  copyist.s  in  the  galleries.  —  Sculptures  :  FrilU, 
Via  de'  Fossi  4;  Lapini,  Via  de'  Fossi  and  Piazza  Manin;  RomaneUi,  Lun- 
garno Acciaioli  22;  llazzanti,  Lungarno  Corsini  12.  —  Plaster  Casts.  Lelli, 
Cor.so  de'  Tintori  55.  —  Majolica:  Socieiii  Ceramica  Richard-  Oinori,  Via 
Rondinelli  7  (PI.  E,  4;  permesso  fur  Doccia,  see  p.  554);  Cantagalli,  Via 
Senese  21  (PI.  A,  7;  factory,  visitors  admitted),  artistic  reproductions  of 
antiques;  Man'fattura  di  Signa  (Bondi;  terracotta  copies),  depot  of  the 
factory  at  Signa  (p.  441),  Via  de'  Vecchietti  2;  Salvini  <C-  Co.,  Via  Vitt. 
Em^nuele  62;  Mani/attura  di  Foniebuoni  ('L'Arte  delta  Ceramica'),  Via  Ar- 
nolfo,  modern  ware.  —  Wood  Cakvings  (figures,  ornamental  works,  fur- 
niture): Olivotli,  Via  de'  Fossi  31;  StahiUmento  Barbetti ,  Via  del  Prato 
(PI.  C,  2  ;  factory,  closed  on  Sun.);  Seghi,  Via  Santa  Caterina  8.  —  Mosaics  : 
Scappini,  Via  Tornabuoni  1;  Bosi,  Piazza  S.  Trinita  1;  Sandrini,  Via  de' 
Fossi.  —  Book -Covers  and  other  Articles  in  Vellum:  Cecchi,  Piazza 
del  Duomo  15;  Bori,  Burgo  Santi  Apostoli  14;  Giannini,  Piazza  Pitti  19. 

Artists  (American  and  English).  Painters:  Spencer  Stanhope,  Via  Lungo 
il  Mugnonell;  M.  M.  Berthotid,  Via  Lungo  il  Mugnone  19;  Isaac  E.  Craigh, 
Villa  Stufa  Montughi;  Prof.  Bug.  Meeks ,  Piazza  Donatello  8  (2-4  p  m.); 
Benry  R.  Jfewman,  Piazza  dei  Rossi  1;  Stephen  H.  Parker,  Via  Melarancio  2; 
Fr.  W.  Boring,  Via  Ventisette  Aprile  18.  —  Sculptors:  A.  E.  Harnisch, 
Via  del  Prato  39;  Prof.  L.  G.  Mead,  Via  degli  Artisti  A;  L.  Powers,  Via 
Poggio  Imperiale;  Preston  Powers,  Via  Farinato  degli  Uberti  1;  J.  L. 
Thompson,  Viale  in  Curva  11. 

Art  Exhibitions.  Socielh  Artistica,  Piazza  DonateUo  5  (PI.  I,  4);  Soeietd 
delle  Belle  Arti,  Via  della  Culonua,  in  April  and  May,  daily  10-6  (adm.  1  fr., 
Sun.  50  c).  —  Istituto  Storico  Artistico,  Viale  Principessa  Margherita  19, 
second  floor  (PI.  F,  1) ;  director,  Prof.  Brockhaus. 

Goods  Agents.  Hzimbert,  Via  Tornabuoni  20;  Anglo-American  Supply 
Stores,  Via  Cavour  41  (also  storage  of  luggage,  etc.) ;  Kiintzel,  Via  dell' 
Orivolo  45;  Jacky,  Summer er,  &  Co.,  Piazza  Santa  Maria  Novella  26. 

Tourist  Bureau.    Cook  &  Son,  Via  Tornabuoni  10. 

Bankers.  French,  Lemon,  <(;  Co.,  Cook  tt  Sons,  Whitby,  Maquay,  &  Co., 
Via  Tornabuoni  4,  10,  &  5;  SteinhautUn  <£•  Co.,  Via  del  Proconsolo  10;  Kuster 
tk  Co.,  Via  Tornabuoni  12;  Bernet,  Via  dej^li  Strozzi  2  D;  Banca  Commerciale 
Jtaliana,  Via  Bufalini  7  (PI.  F,  G,  4).  —  Money  Changers.  Credito  Ilaliano, 
Via  Tornabuoni  17  and  Via  de'  Cerretani  2. 

Teachers  of  music  and  Italian  may  be  enquired  for  at  the  chemists', 
or  at  the  booksellers'.   —    Istituto  Betiino  Ricatoli,  an  Anglo-Italian  school 


Notes.  FLORENCE.  64.  Boute.   463 

for  boys  (headmaster,  Mr.  6.  B.  Begg),Via  Santa  Reparataltt.  —  English 
High  Bchool  and  International  Itutitule,  for  Qirls  (principal,  Mrs.  A.  Wolf- 
Slengazzi),  Villa  Pepoli,  Via  CoUetto  2. 

English  Churches.  Holy  Trinitv  (PI.  H,  2),  Via  La  Marmora,  behind 
S.  Marco;  services  at  8.30,  11,  12.15,  4.45,  and  5  (Rev.  A.  Knollys).  —  St. 
Mark's  Anglo-Cat/iolic  Church,  Via  Magiiio  18;  services  at  8.30,  11,  12.15,  4.45, 
and  5  (Kev.  H.  Tanner).  —  American  Episcopal  Church  (St.  James).,  Piazza  del 
Carmine  11;  services  at  8.  30,  11,  3.15  (litany),  and  3.30  (Rev.  H.  A.  Ven- 
ables).  —  Presbyterian  Service,  Lungarno  Guicciardini  11;  at  11  and  3  (Rev. 
A.  S.  Mactavish).  —  Waldensian  Service  (p.  44 ;  Italian),  on  Sundays  at  11  a.m. 
in  the  Palazzo  Salviati,  Via  dei  Serragli  51.  —  Church  of  St.  Joseph  (for 
English -speaking  Catholic?),  Via  S.  Caterina.  —  New  Jerusalem  Church 
(English  service).  Piazza  Beccaria. 

Clubs.  Florence  Club  (English),  Via  Borgognissanti  5;  Circolo  dell" 
i'nione.  Via  TornabuoniT;  Italian  Alpine  Club,  Via  Tornabuoni  4. 


Theatres  (comp.  p.  xxiv).  -Teatro  delta  Pergola  (PI.  G,  5),  erected 
in  1638,  remodelled  in  1857,  Via  della  Pergola  12,  for  operas  and  ballet, 
rrpreaentations  during  a  few  months  only  in  winter  (adm.  8  fr. ;  box-office. 
Via  del  Corso  7,  PI.  F,  5);  Niccolini  (PI.  F,  4),  Via  Ricasoli  8,  plays;  Verdi 
(PI.  F,  <),  6),  Via  Guiseppe  Verdi,  operas  and  ballet;  Politeama  Fiorentino 
(Pl.B,  2),  Corso  Vitt.Emanuele;  Politeama  NazionctleiVl.  E,  3),  ViaNazionale, 
operettas,  comedies,  and  equestrian  performances.  —  AUiambra  (PI.  I,  6,  7), 
Piazza  Beccaria,  variety  theatre. 

Popular  Festivals.  On  the  eve  of  the  Feast  of  Epiphany  {Befana; 
Jan.  6th)  the  'Street  Arabs'  perambulate  the  streets  with  horns,  torches, 
and  shouting,  and  the  feast  itself  is  celebrated  by  a  universal  exchange 
of  presents.  —  I)urin'4  the  Carnival  several  'Veglioni'  or  masked  balls  are 
held.  —  On  Good  Friday  there  is  a  procession  in  Renais.sanee  costumes  in 
the  village  of  Orassina,  in  the  Ema  valley  (omn.  from  the  Vico  del  Corno, 
behind  the  Palazzo  Veccbio).  —  Saturday  be/ore  Easter.  'Lo  Scoppio  del 
Carro',  a  chariot  laden  with  fireworks,  is  driven  to  the  front  of  the  cathe- 
dral, and  its  contents  ignited  about  noon  by  a  rocket  in  the  shape  of  a 
dove  CColombina"),  which  descends  from  the  high- altar  along  a  string. 
The  'dove'  is  limited  during  the  'Gloria'  on  a  stone  from  the  Holy  Sepulchre, 
said  to  have  been  brought  to  Florence  by  Pazzo  de'  Pazzi  in  1099.  Its  course 
is  watched  with  great  interest  by  the  thousands  of  country  people  assembled 
in  the  piazza,  as  its  regularity  or  irregularity  is  supposed  to  presage  a 
good  or  a  bad  harvest  respectively.  The  car  is  then  dragged  by  four  white 
oxen  (from  the  dairy-farm  in  the  Cascine)  to  the  Via  del  Proconsolo,  and 
the  remaining  fireworks  are  let  off  at  the  Canto  de'  Pazzi  fp.  504).  —  On 
Atcention  Day  CGiorno  dei  GrilW)  the  people  go  out  to  the  Cascine  before 
daybreak,  breakfast  on  the  grass,  and  amuse  themselves  till  evening.  — 
In'the  old  quarters  the  inhabitants  of  each  street  celebrate  the  day  of  their 
patron-saint  with  music  and  fireworks.  —  According  to  an  ancient  custom 
the  Fioritaper  Savonarola  takes  place  on  3Iay  23rd,  when  the  spot  on  which  (,__ 
the  stake  was  erected  (p.  474)  is  strewn  with  flowers.  —  At  the  Festa 
dello  Statuto,  on  the  first  Sunday  in  .Inne,  there  are  a  parade  in  the  Cascine 
and  an  illumination  of  the  Palazzo  Vecchio  after  dark.  —  The  Festival  of 
St.  John  on  24th  June  is  observed  by  fireworks,  etc.  —  On  June  29th  the 
neighbouring  villas  are  illuminated. 

Flower  Market.  On  Thurs.  8-2  in  the  Mercato  Kuovo  (p.  475).  —  Prin- 
cipal market  in  the  Mercato  Centrale  (p.  529). 


Diary.  Churches  generally  open  the  whole  day,  except  from  12.30  to  2  or 
3  p.m.;  the  Cnthedral  and  the  church  of  Santissima  Annunziata  (p.  olO) 
are  open  all  day.  —  Collections  belonging  to  government  are  closed  on 
public  holidays,  which  include  the  last  Sun.  during  the  Carnival,  June  24th 
(the  festival  of  San  Giovanni  Patrono),  June  29th  (the  festival  of  SS.  Peter 
and  Paul),  and  Sept.  20th,  besides  those  mentioned  on  p.  xxiv.    Artists,  etc., 


464    Route  Gi.  FLOKENCE.  Practical  Notes. 

may  obtain  Free  Tickets  and  Permission  to  copy  painiings  at  the  'Dii-ezione', 
in  the  Uffizi  (applications  see  p.  xxiv). 

'Accademia  cli  Belle  Arti  (p.  520),  see  Oalleria  Antica  e  Moderna. 

Saiit'  Apollonia  (frescoes  by  Andrea  del  Castagno,  etc.),  week-days,  10-4, 
25c.,  Sun.,  10-2,  free:  p.  525. 

'Archaeological  Museum  with  the  Oalleria  degli  Arazzi,  week-days,  10-4, 
adm.  1  fr.,  Sun.,  10-2,  gratis  (see  p.  511). 

Bargello,  see  Museo  Nazionale. 

Biblioteca  Laurenziaria  (p.  527),  week-days,  10-4  (April-Oct.  8-12). 

Bibl.  Marucelliana  (p.  518)  week-days,  9-5  (Oct.  9-4,  Kov.-Feb.  9-3, 
and  6-9). 

Bibl.  Nazionale  Cenirale  (p.  4S8),  weekdays,  10-4. 

Bibl.  Riccardiana  (p.  518),  week-days  9-3  (in  summer  7-1). 

Bigallo  (p.  477),  week-days  till  noon  and  1-3,  gratuity  (30-50  c). 

"Boboli  Garden  (p.  546),  open  to  the  public  on  Sun.  &.  Thurs.  ;ifter- 
noons  -,  on  Tues.  afternoon  only  to  those  provided  with  a  'permesso'  from 
the  'Amministrazione''  of  the  Pal.  Pitti  (see  below). 

Cathedral  Museum,  see  Museo  di  Santa  Maria  del  Fiore. 

Cenacolo  di  Fuligno,  week-days,  10-4,  50c.,  Sun,  10-2,  free  (p.  529). 

Chiosiro  dello  Scalzo  (Andrea  del  Sarto's  frescoes),  week-days,  10-4, 
adm.  25  c.,  Sun.,  10-2,  free  (p.  52i). 

^'Oalleria  Antica  e  Moderna.,  week-days,  10-4,  1  fr.,  Sun.,  10-2,  free  (p.  520). 

Gal.  degli  Arazzi.  see  Archteologieal  Museum- 

Oal.  Buonarroti,  daily,  exc.  Sun.  and  festivals,  10-4;  1  fr.,  Mon.  and 
Thurs.  free  (p.  508). 

Gal.  Corsini,  Tues.,  Thurs.,  and  Sat.,  10-3  (p.  534). 

""Gal.  Pitti  (Gal.  Palatina;  p.  533),  week-days,  10-4,  1  fr.,  Sun.,  10-2, 
gratis.     Usually  crowded  in  the  murning  during  the  season. 

""Gal.  degli  Uffizi  (p.  484),  week-days,  10-4,  1  fr..  Sun.,  10-2,  gratis. 
Usually  over-crowded  in  the  morning  during  the  tourist-season. 

"San  Lorenzo,  new  sacristy  and  chapel  of  the  princes,  week-days,  10-4, 
adm.  1  fr.  (Sun.,  10-2,  free),  pp.  528,  527. 

Santa  Maria  Maddalena  de'  Pazzi  (Perugino's  frescoes),  week-days,  10-4, 
adm.  25  c.  Sun.,  10-2,  free  (p.  516). 

Museo  di  Fisica  e  Storia  Naturale  (p.  547),  Tues.,  Thurs.,  and  Sat., 
10-4  (in  winter  10-3). 

Museo  Indiano,  Wed.  and  Sat.,  9-3,  free  (p.  520). 

Museo  dei  Lavori  in  Pietre  Dure,   daily,    10-4,  closed   on  Sun.  (p.  524). 

"Museo  di  San  Marco,  week-days,  10-4,  1  fr. ;  Sun.,  10-2,  gratis  (p.  518). 

"Museo  di  Santa  Maria  del  Fiore,  daily,  10-4  (Oct. -Slarch,  10-3);  50  c.; 
on  Sun.  free  (p.  482). 

'Museo  Nazionale,  week-days,  10-4,  1  fr. ;  on  Sun.,  10-2,  gratis  (p.  499). 

Museo  degli  Strumenti  (p.  524),  Tues.,  Thurs.,  and  Sat.,  10-12. 

Ognissanti  (Last  Supper  by  Dom.  Ghirlandaio),  week-days,  10-4,  25  c, 
Sun.,  10-2,  free  (p.  535). 

Opera  del  Duomo,  see  Museo  di  Santa  Maria  del  Fiore. 

Palazzo  Pitti  (royal  apartments  and  silver  room),  Tues.,  Thurs.,  &  Sun., 
10-4  (fee  in  the  silver-room  30-50  c,  in  the  royal  apartments  ^/-^-itr.); 
tickets  issued  (free)  at  the  'Amministrazicme  della  Real  Casa'  in  the  third 
court  of  the  palace,  to  the  left  of  the  central  entrance  (p.  546). 

Palazzo  Riccardi,  daily,  10-4,  on  Sun.  &  holidays,  10-2;  gratuity  30-50  c. 
(p.  517). 

Palazzo  Vecchio,  daily,  except  Sun.  and  festivals,  10-3  (in  summer, 
10-4) ;  see  p.  472. 

San  Salvi  (Last  Supper  by  Andrea  del  Sarto),  week-days,  10-4,  25  c,  Sun., 
10-2,  free  (p.  558). 

Scalzo,  see  Chiostro  dello  Scalzo. 

No  charge  is  made  in  the  public  collections  for  keeping  sticks  um- 
brellas, etc.     On  gratuities,  see  p.  xv. 

Chief  Attractions  (5  days).  1st  Day.  Morning:  Piazza  della  Signoria, 
with  the  Palazzo  Vecchio  and  the  Loggia  dei  Lanzi  (pp.  472-475);  Oalleria 
degli  Uffizi  (p.  481).     Afternoon  :   Torre  al  Gallo,    Yiale  dei  Colli,  and  San 


Chief  Siyhts.  FLORENCE.  64.  Route.    465 

Minialo  (pp.  549,  550).  —  2nd  Day.  Morning:  Or  San  Michele  (p.  476); 
t'iazza  del  Ditomo,  with  the  Baptistery,  Cathedral,  and  Campanile  (pp.  477- 
•1811 ;  ifiiseo  di  Santa  Maria  del  Fiore  (p.  482).  Afternoon:  Fiesole  (p.  554).  — 
3rd  Day.  Morning:  Santa  Croce  (p.  505);  Mi'Seo  JVazionale  (-p.  iW).  Afternoon; 
Archaeological  Mufeum  (p.  Sill;  Santissima  Annunziata  (p.  510).  —  4th  Day. 
Morning:  Pal.  Riccardi  (p.  517);  S.  Marco  and  the  monastery  (p.  518), 
Academy  (p.  520).  Aiternoon:  San  Lorenzo  (p.  52(-i)  with  the  New  Sacristy 
(p.  52S);  Santa  Maria  Novella  (p.  529);  the  Caschie  (p.  652).  —  5th  Day. 
Morning:  J'al.  Strozzi  (p.  532),  Via  Tornabuoni,  and  Piazza  Santa  Trinita 
(p.  533);  Santo  Sj.irito  (p.  53G);  Pitti  Qallei-y  (p.  538).  Afternoon:  Santa  Maria 
del  Carmine  (p.  537);  Bobvli  Garden  (p.  546).  —  In  summer  an  excursion 
should  be  made  to  Vallombrosa  (p.  558). 

For  farther  details  th:in  this  Handbook  afi'ords,  visitors  may  be  referred 
to  the  Misses  norner''s  'Walks  in  Florence",  ir.  D.  HowelW  'Tuscan  Cities' 
(including  'A  Florentine  Mosaic'),  Grant  Allen'' s  'Florence',  .ffare's 'Florence', 
Edimmd  G.  Gardner  s  'Story  of  Florence'  (London,  1900),  Raskin  s  'Mornings 
in  Florence',  and  Mrs.  OliphanCs  'Makers  of  Florence'.  See  also  'The  First 
Two  Centuries  of  the  History  of  Florence',  by  Prof.  Pasquale  Villari, 
'Romola',  by  George  Eliot,  'Literary  Landmarks  of  Florence',  by  Laurence 
Button  (1897).  'Tuscan  and  Venetian  Artists',  hy  Hope  Rea  (2nd  ed. ;  London, 
19u4),  'Tht;  Florentine  Painters  of  the  Renaissance',  by  Bern/iard  Berenson, 
and  'Echoes  of  Old  Florence',  by  Leader  Scott  (2nd  edit.,  1901). 

Florence,  formerly  the  capital  of  the  Grand-Duchy  of  Tuscany, 
in  1865-71  that  of  the  Kingdom  of  Italy,  and  new  that  of  the 
province  of  its  own  name,  the  seat  of  an  archbishop,  and  the  head- 
quarters of  the  Sth  Italian  array-corps,  ranks  with  Rome,  Naples,  and 
Venice  as  one  of  the  most  attractive  towns  in  Italy.  While  in  ancient 
times  Rome  was  the  grand  centre  of  Italian  development,  Florence 
has  since  the  middle  ages  superseded  it  as  the  focus  of  intellectual 
life.  The  modern  Italian  language  and  literature  have  emanated 
chiefly  from  Florence,  and  the  line  arts  also  attained  the  zenith  of 
their  glory  here.  An  amazing  profusion  of  treasures  of  art,  such  as 
no  other  locality  possesses  within  so  narrow  limits,  reminiscences 
of  a  history  which  has  influenced  the  whole  of  Europe,  perpetuated 
by  numerous  and  imposing  monuments,  and  lastly  the  delightful 
environs  of  the  city  combine  to  render  Florence  one  of  the  most 
interesting  and  attractive  places  in  the  world. 

'Who  can  describe  the  enchanting  view  of  this  art-city  of  Tuscany 
and  the  world,  Florence,  with  its  surrounding  gardens?  who  paint  the 
distant  horizon ,  from  Fiesole  smiling  at  us  with  its  fair  towers ,  to  the 
blue  ridge  of  the  Lucca  Mountains  standing  out  against  the  golden  back- 
ground of  the  western  sky?  Here  everything  betrays  the  work  of  gen- 
eration after  generation  of  ingenious  men.  Like  a  water-lily  rising  on 
the  mirror  of  the  lake,  so  rests  on  this  lovely  ground  the  still  more  lovely 
Florence,  with  its  everlasting  works  and  its  inexhaustible  riches.  From 
the  bold  airy  tower  of  the  palace,  rising  like  a  slender  mast,  to  Brunel- 
leschi's  wondrous  dome  of  the  Cathedral,  from  the  old  house  of  the  Spini 
to  the  Pitti  Palace,  the  most  imposing  the  world  has  ever  seen,  from  the 
garden  of  the  Franciscan  convent  to  the  beautiful  environs  of  the  Cascine, 
all  are  full  of  incompar.able  grace.  Each  street  of  Florence  contains  a  world 
of  art;  the  walls  of  the  city  are  the  calyx  containing  the  fairest  (lowers 
of  the  human  mind;  —  and  this  is  but  the  richest  gem  in  the  diadem 
with  which  the  Italian  people  have  adorned  the  earth.'    (Leo). 

Florence  (170  ft.),  Italian  Firenze,  formerly  Fiorenza,  from  the 
Latin  Florentia,  justly  entitled  'la  bella',  is  situated  in  43°46'  N. 
latitude,  and  11°  21'  E.  longitude,  on  both  banks  of  the  Arno,  an  in- 

Baeubkek.  Italy  I.  13th  Edit.  30 


466   Route  64.  FLORENCE.  History. 

significant  river  except  in  rainy  weather,  in  a  charming  valley  of 
moderate  width,  picturesquely  enclosed  by  the  foothills  of  the  Apen- 
nines on  the  N.  and  by  the  spurs  of  the  Monti  di  Chianti  (p.  xxiii)  on 
the  S.  On  the  S.  the  heights  rise  more  immediately  from  the  river, 
on  the  N.,  where  the  highest  visible  peak  is  the  Monte  Morello  (p.  554), 
they  are  3-4  M.  distant,  while  towards  the  N.  W.,  in  the  direction  of 
Prato  and  Pistoia,  the  valley  expands  considerably.  The  sudden 
transitions  of  temperature  which  frequently  occur  here  are  trying  to 
persons  in  delicate  health.  The  pleasantest  months  are  April,  May, 
and  the  first  half  of  June,  the  second  half  of  September,  October, 
and  November.  The  winter  is  disproportionately  cold  (minimum 
111/2°  Fahr. ;  mean  temperature  of  January  41°  Fahr.);  July  (mean 
76°;  maximum  103°)  and  August  are  very  hot,  and  colds  are  most 
dangerous  at  this  season.  The  average  annual  rain-fall  (111  days 
with  rain  or  snow)  is  35  inches,  —  The  drinking-water  of  Florence, 
mainly  filtered  water  from  the  Arno,  is  not  considered  very  whole- 
some. 

During  the  struggle  for  the  creation  of  a  'United  Italy'  Florence 
was  for  a  short  time  (1865-71)  the  capital  of  the  country ;  but  this 
honour,  though  it  gave  a  momentary  stimulus  to  the  progress  of  the 
city,  ultimately  (1878)  resulted  in  a  financial  collapse.  Owing  to 
the  very  slight  development  of  trade  and  manufactures  Florence 
awakes  to  activity  only  during  the  tourist-season.  —  As  early  as  the 
15th  cent.  Florence  is  said  to  have  contained  90,000  inhab.,  in 
1901  it  had  about  152,000  besides  a  garrison  of  5500.  The  Floren- 
tines have  ever  been  noted  for  the  vigour  of  their  reasoning  powers 
and  for  their  pre-emincTice  in  artistic  talent. 

History.  According  to  recent  discoveries,  there  seems  to  have  been 
a  settlement  on  the  present  site  of  Florence  at  a  very  early  date  (in  the 
so-called  'Villanova  period').  This  did  not  attain  any  great  importance 
until  about  B.C.  187,  when  the  Roman  Via  Cassia  was  prolonged  to  Arezzo, 
Florentia,  and  Bologna.  In  B.C.  90  Florentia  and  Fsesulee  (Fiesole)  received 
the  Latin  municipal  franchise,  and  a  decade  later,  under  Sulla,  they  be- 
came military  colonies.  The  Roman  Florence,  which  lay  near  the  Arno, 
to  the  N.  of  the  present  Ponte  Vecchio,  possessed  a  Capitol,  a  Temple  of 
the  Triad  (Jupiter,  Juno,  and  Minerva),  Thermse  for  men  and  women, 
and  an  Amphitheatre. 

Only  the  scantiest  records  of  its  history  during  the  early  middle  ages  are 
to  be  found ;  but  it  is  tolerably  certain  that  until  the  death  of  Countess 
Matilda  (p.  424)  in  1115  Florence  remained  a  place  of  little  importance. 
Its  earliest  chronicler  definitely  dates  the  rise  of  its  prosperity  from  1125, 
in  which  year  Fiesole  was  destroyed  and  its  inhabitants  transplanted  to 
Florence.  But  by  the  beginning  of  the  following  century  its  success  in 
warfare  and  Its  great  and  rapidly  growing  manufactures  had  already 
transformed  it  into  the  most  important  community  in  Central  Italy.  The 
government  of  the  town  was  carried  on  by  the  nobles  (Orandi)  through 
four  (afterwards  six)  consuls ,  assisted  by  a  council  of  100  Buonuomini. 
From  1207  onwards  the  judicial  functions  were  entrusted  to  the  Podesici, 
a  foreign  nobleman  of  legal  erudition  elected  for  a  period  of  six  months, 
afterwards  increased  to  a  year.  The  Florentines  maintained  their  pristine 
simplicity  and  virtue  longer  than  was  usual  in  Italian  cities.  The  nobles, 
however,  lived  in  bitter  feuds  with  each  other,  and  after  the  assassination 
of  Buondelmonte  on  the  Ponte  Vecchio  in  1215  were  divided  between  the 
two  hostile  camps  of  the  Chielphs  and  the  OhibelUnes.    Under  the  Emperor 


History.  FLORENCE.  64.  Route.   467 

Frederick  II,  the  Ghibellines  enjoyed  a  brief  period  of  supremacy,  but  on 
his  death  in  1250  the  Guelphs  secured  the  upper  haud.  As  in  consequence 
of  these  conflicts  the  sway  of  the  nobility  proved  detrimental  to  the  in- 
terests of  the  city,  the  people  in  1250  organised  a  kind  of  national  guard 
of  their  own,  commanded  by  a  'Capitano  del  Popolo",  who  was  assisted  by 
a  council  of  12  'Ancients'  CAnziani)  and  36  'Corporals'  (Caporali).  About 
thesame  time  (1252)  was  first  coined  the  golden  Florin^  which  soon  became  a 
general  standard  of  value,  and  marks  the  leading  position  taken  by  Florence 
in  the  commerce  of  Europe.  The  guilds  of  the  wool-weavers  and  cloth- 
makers  maintained  agents  in  Venice,  Paris,  Bruges,  and  L(mdon;  Floren- 
tine bankers  bad  a  hand  in  the  commerce  of  every  nation,  and,  more 
especially,  exercised  almo't  exclusive  control  over  the  money-market  of 
France.  The  continuous  feuds  of  the  nobles  brought  the  republic  into 
collision  with  other  Tuscan  towns,  of  which  Siena  and  Pisa  were  con- 
spicuous partizans  of  the  Ghibellines.  In  1260  the  Florentines  suffered  a 
crushing  defeat  on  the  Arbia,  near  Montaperli,  which  cost  the  Guelphs 
their  supremicy  in  the  city.  The  Gliibelline  grandees  propnsed  to  raze 
Florence  to  the  ground  and  to  transfer  the  seat  of  government  to  Empoli, 
but  the  plan  was  successfully  opposed  by  the  noble  Farinata  degli  Uherti. 

On  the  death  of  Manfred  of  Hohenstaufen  at  the  battle  of  Benevento 
in  1266,  the  Guelphs  regained  their  power,  and  in  12G7  they  elected  Charles 
of  Anjou  as  Sit;nor  for  ten  years.  This  election  placed  foreign  princes  in 
the  same  position  with  regard  to  the  republic  as  had  been  held  by  the 
emperors,  and  their  representative."  now  shared  the  government  with  the 
municipal  authorities,  which  ever  since  the  middle  of  the  13th  cent,  had 
included  the  presidents  of  the  seven  greater  Arts,  or  guilds  (Lawyers  and 
Notaries,  Cloth -dealers,  Money-changers,  Wool-weavers ,  Silk-workers, 
Physicians  and  Apothecaries,  and  Furriers).  Fourteen  lesser  guilds  were 
afterwards  formed.  In  12S2  the  guilds  arroga'ed  to  themselves  the  supreme 
power,  and  entrusted  the  government  to  a  Signoria  formed  of  their  pre- 
sidents or  Priori  (afterwards  restricted  to  eight,  elected  for  two  months). 
The  nobility  were  kept  in  check  by  the  'Ordinamenti  della  Giustizia',  a 
series  of  strict  regulation^  due  to  Giano  della  Bella  (1293),  which  were  ad- 
ministered by  a  Qonfaloniere  della  Giustizia,  supported  by  a  civic  militia 
of  1000  (aftersvards  2iJU0)  men.  The  civic  banner  bore  a  red  cross  upon  a 
white  ground.  After  1300  the  Gonfaloniere  della  Giustizia  became  the 
president  of  the  Priori,  with  whom  were  now  associated  the  sixteen  Gon- 
falonieri  of  the  militia,  the  Capitano  del  Popolo,  and  (after  1312)  twelve 
ma:.:i3trate3  known  as  Buonuomini.  The  legislative  proposals  of  the  body 
thus  constituted  were  submitted  to  three  councils:  the  Consiglio  del  Popolo, 
elected  at  first  exclusively  from  the  more  prosperous  citizens  (the  'popolo 
grasu)'),  the  Consiglio  della  Credenza,  on  which  the  guild-oflicials  sat,  and 
the  Consiglio  del  Podestd,.  Finally  they  were  considered  by  a  General  Council, 
formed  of  the  three  separate  councils.  Offices  were  held  but  for  a  short 
term,  in  order  that  as  many  citizens  as  possible  might  enjoy  them,  but  if 
any  one  were  'admonished'  for  a  crime,  he  became  ineligible  for  oifice. 
Advantage  of  this  was  frequently  taken  by  the  party  holding  the  upper 
hand  to  exclude  their  opponents  from  power;  and  the  steady  development 
of  constitutional  government  was  interrupted  also  by  the  custom  of  en- 
trusting from  time  to  time,  at  the  request  of  the  Signoria,  a  committee  of 
citizens  with  the  full  power  (Balia)  of  altering  the  laws. 

At  the  beginning  of  the  14lh  cent.,  new  party-strug^iles  aiiong  the 
nobles  burst  forth,  under  the  new  names  of  the  Whites  and  the  Blacks;  the 
Guelphs  (Neri)  were  eventually  victorious,  and  many  of  the  Bianchi 
among  whom  was  the  poet  Dante  Alighieri,  were  banished.  The  poorer 
families  of  the  nobility  entered  the  greater  guilds,  and  a  new  aristocracy 
arose,  prominent  among  whom  were  the  Acciaioli,  Alberti,  Buonaccorsi, 
Mancini,  Peruzzi,  Rucellai,  Strozzi,  and  Ricci.  The  lower  ranks  of  the 
people  —  the  popolo  minuto  —  were  still  excluded  frum  office.  A  large 
portion  of  the  city  was  burned  down  in  1304,  during  a  contest  between 
the  nobles  and  the  p.'ople.  In  the  meantime  various  attempts  had  been 
made  to  secure  peace  and  order  by  appointing  a  foreign  prince  as  lord  of 
the  city.     Walter  of  Brienne,  Duke  of  Athen.t,  the  last   of  these  governors, 

30* 


468   Route  64.  FLORENCE.  History. 

abolished  the  constitution  by  force  in  1342,  but  in  the  following  year  he 
was  expelled.  Power  now  fell  into  the  hands  of  an  oligarchy,  mainly 
consisting  of  recently  enriched  commercial  families,  who  exercised  an  in- 
fluence on  every  riepartment  of  government  throusih  the  'Capitani  di  Parte 
Guelfa",  appointed  to  administer  the  estates  of  the  Ghibelline  citizens.  The 
position  and  the  sentiments  of  the  burghers  had  been  much  altered  by 
commercial  crises,  such  as  that  of  1346,  by  famine,  and  by  the  plague 
of  13-18,  of  which  Boccaccio  has  left  a  description.  An  insurrection  of 
the  poorer  classes  —  the  'Tiimulto  dei  Ciompi''  —  in  1378  was  followed  by 
three  years  of  anarchy  and  confusion,  until  the  helm  was  once  more  seized 
by  the  aristocratic  party,  headed  by  the  Alhizzi.  Maso  Albizzi  (d.  1417)  was 
succeeded  by  his  son  liinaldo,  with  whom  were  associated  Niccolb  da  Uzzano 
and  Pallet  Strozzi.  Under  these  rulers  Florence  enjoyed  the  greatest  pro- 
sperity; successful  campaigns  were  waged  against  the  Visconti  of  Milan 
and  Ladi-laus  of  Naples;  Pisa  was  captured  in  1406,  Cortona  in  1411,  Leg- 
horn in  1121.  Tlie  opulence  of  the  city  increased,  and  the  lower  cla-ses, 
encouraged  by  their  rapid  prosperity,  now  sout;ht  a  share  in  the  govern- 
ment. Among  the  'Populaui'  who  were  carried  along  on  the  crest  of 
the  wave,  now  appear  the  Medici,  who  had  acquired  immense  wealth  by  a 
series  of  successful  financial  speculations  (see  the  Genealogy  on  p.  469). 

The  founder  of  the  Medici  dynasty  was  Giovanni  de"  Medici  (d.  1429). 
His  son  CosiMO  was  overthrown  by  the  Albizzi  in  1433,  but  returned  after 
an  exile  of  one  year,  and  resumed  the  reins  of  government  with  almost 
princely  magnificence,  without,  however,  interfering  with  the  outward 
forms  of  the  republican  constitution.  A  war  with  Milan  was  terminated 
by  the  victory  of  An^^hiari  in  1440.  Pope  Eugenius  IV.,  who  lived  in 
Florence  from  1434  till  1443,  transferred  hither  in  1439  the  Council  of 
Ferrara  (p.  3S3),  by  which  the  union  of  the  Roman  and  Greek  churches 
was  decreed.  Cusimo  employed  his  wealth  liberally  in  the  advancement 
of  art  and  science,  he  was  the  patron  of  Brunelleschi,  Donatello,  Miche- 
lozzo,  Masaccio,  and  Lippi,  and  he  founded  the  Platonic  Academy  (p.  470} 
and  the  Medici  Library.  At  the  close  of  his  life  he  was  not  undeservedly 
surnamed  pater  patriae  by  the  Florentines.  He  was  succeeded  by  his 
infirm  son  Piero  in  1464,  and  in  1469  by  his  grandson  Lorenzo,  surnamed 
II  Magnifico ^  who,  as  a  statesman,  poet,  and  patron  of  art  and  science, 
attained  a  very  high  reputation.  Florence  now  became  the  great  centre  of 
the  Renaissance,  the  object  of  which  was  to  revive  the  poetry,  the  elo- 
quence, and  the  art  and  science  of  antiquity.  Contemporaneously  with  the 
most  eminent  artists  the  brilliant  court  of  the  Medici  was  graced  by  the 
earliest  of  modern  philologists.  The  conspiracy  of  the  Pazzi  (1478),  to  which 
Lorenzo's  brother  Giuliano  fell  a  victim  ,  did  not  avail  to  undermine  the 
power  of  this  ruler,  but  brought  the  bloody  revenge  of  the  people  on 
his  opponents.  Lorenzo  knew  both  how  to  defend  himself  against  ex- 
ternal dangers  by  prudent  alliances ,  and  to  secure  his  position  at  home 
by  lavish  expenditure  and  a  magnificent  style  of  living,  which,  however, 
was  partly  maintained  by  the  public  treasury.  He  died  at  Careggi  on  April 
8th,  1492,  at  the  age  of  43  years,  an  absolute  prince  in  all  but  the  name. 

After  the  death  of  Lorenzo,  the  Florentine  love  of  liberty,  largely  ex- 
cited by  the  voice  of  the  Dominican  friar  Girolamo  Savonarola ,  rebelled 
against  the  magnificent  rule  of  the  Medici.  Piero,  the  feeble  son  of  Lo- 
renzo, resigned  the  frontier-fortresses  into  the  hands  of  Charles  VIII.  of 
France,  on  his  campaign  against  Naples,  and,  on  the  king's  departure,  he 
was  expelled,  with  his  brothers  Giovanni  and  Gitiliano,  and  the  government 
entrusted  to  a  democratic  Great  Council  (1494).  Savonarola,  having  attaclced 
Pope  Alexander  VI.,  perished  at  the  slake  in  1498,  but  his  influence  endured. 
Pier  Soderinio,  elected  as  gonfaloniere  for  life  in  1502,  succeeded  in  re- 
capturing Pisa,  which  had  been  freed  by  the  French;  but  in  1512  the  party 
of  the  Medici  regained  the  upper  hand  and  recalled  the  brothers  Giuliano 
and  Giovanni.  The  former  soon  resigned  his  authority,  the  latter  became 
Pope  Leo  X.,  and  they  were  followed  by  Lorenzo,  son  of  Piero  II.  and 
afterwards  Duke  of  Urbino  (d.  1519),  Oiulio,  the  son  of  the  Giuliano  who 
was  murdered  in  1478  (elected  pope,  as  Clement  VU.,  in  1523),  and  Ales- 
sandro,   a   natural  sou  of  the  last-named  Lorenzo.     The  family  was  again 


Arl  and  Science.  FLORENCE.  64.  Route.   469 

banished  in  1527,  but  Emp.  Charles  V.,  who  had  married  his  natural 
daughter  Margaret  (afterwards  Duchess  of  Parma)  to  Alessandro,  attacked 
the  town  and  took  it  in  1530  after  a  siege  of  eleven  months,  during  which 
Michael  Angelo,  as  engineer  on  the  side  of  the  republic,  and  the  brave 
partisan  Ferruccio  greatly  distinguished  themselves.  The  emperor  then 
appointed  Alessandro  hereditary  Dake  of  Florence.  The  assassination  of 
the  latter,  perpetrated  by  his  own  cousin  Lorenzo,  7th  Jan.,  1537,  did  not 
conduce  to  the  re-establishment  of  the  republic.  He  was  succeeded  by 
Cosimo  I.  (b.  15191,  son  of  Giovanni  delle  Baade  Nere  (d.  1526),  the  only 
soldier  of  the  Medici  family,  who  wa^t  a  descendant  of  Lorenzo,  brother 
of  the  elder  Cusirao.  The  a'med  revolt  of  the  Florentine  republicans  in 
1537  was  suppressed  with  the  aid  of  Spanish  troops  (p.  455);  and  in  1548 
Francesco  Bnrlamacchi ,  gonfaloniere  of  Lucca,  who  had  attempted  to  or- 
ganize all  Tuscany  as  a  united  republic,  expiated  his  failure  on  the  scaffold. 
Cosimo,  who  obtained  the  title  of  Grand-duke  in  1560,  now  succeeded  in 
combining  the  moat  varied  territories  into  a  single  monarchical  state,  which 
included  the  entire  basin  of  the  Arno,  with  Arezzo,  Cortona,  Montepulciano, 
Volterra,  Pisa,  Pescia,  Pisa,  and  (afier  a  bloody  war  that  began  in  1555) 
al'O  Siena.     Modern  history,  see  p.  425. 

The  traveller  interested  in  historical  research  should  observe  the 
numerous  memorial  tablets  in  various  parts  of  Florence,  recording  import- 
ant events  in  the  annals  of  the  town. 

Art  and  Science.  The  proud  position  occupied  by  Florence  in  the 
history  of  art  and  science  was  first  established . by  Dante  AUghieri,  born 
here  in  1265 ,  author  of  the  'Divine  Comedy',  and  the  great  founder  of 
the  modern  Italian  language.  In  1302  he  was  banished  with  his  party, 
and  in  1321  died  at  Ravenna.  Giovanni  Boccaccio,  the  first  expounder  of 
the  illustrious  Dante,  and  celebrated  for  his  'Decamerone',  which  served 
as  a  model  for  the  'Canterbury  Tales'  of  Chaucer,  also  lived  at  Florence. 
Florence,  too,  was  the  chief  cradle  of  the  school  of  the  Humanists  (15th 
cent.),  who  aimed  at  a  universal  and  harmonious  development  of  the  per- 
sonal character,  and  whose  contemplative  life  was  far  exalted  above 
every-day  realities.  This  was  the  home  of  Salulato,  Lionardo  Bruni,  and 
Marsuppini,   the  'Pagan',  whose  firmly  moulded  characters  recall  the  per- 

Genealogi  of  the  Medici. 
Oiovanni  d'Averardo,  1360-1429. 
m.   Piccarda  Bueri. 


(1.)  Cosimo,  Pater  Patriae,  1389-1464.      (2.)  Lorenzo,  1395-1440. 

m.  Contessina  dc'  Bardi,i.  1473.  m.  Qinevra  Cavalcanti; 

progenitors  of  the  later   grand- 
ducal  line. 

(1.)  Piero,  1416-69!  (2.)   Oiovanni,  d.  1463.  (3.)  Carlo  (natural  son), 

m.  Lticrezia  Tornabuoni,  d.  1482.  d.  1492. 

(1.)  Lorenzo  il  Mugnijico,  M9-d2.    (2.)  Giuhano,  1453-78,  whose  (3.)  Bianca.  ' 

m.  Clarice  Orsini,  d.  1488.  son    Giulio   (1478-1534)  (L)  Nannina. 

became    pope    as    Cle-  (5.)  Maria. 
ment  VII.  in  1523. 

(1.)  Piero,    1471-  (2.)  Giovanni  (iilb-  (3.)  G(i/?w«o,  1479-1516,  (i.)  Lucrezia. 

1503.  1521),  who  be-         Due  de  Nemours, (b.)  Litisa. 

m.    Alfonsina  came    pope    as  m.Filibertau/Sa-   I  ifi.)  Maddalena 

Orsmi,  d.  1520.  Leo  X.  in  1513.  vov.  \  (1.)  Contessina. 


(1.)  Lorenzo,   1492-1519,  Duke  of  (2.)  Clarice.     I      Jppolito  (natural  son), 
Urbino.    m.  Madeleine  de  la  |      d.    1535   as   Cardinal. 

Tour  d'Auverijne,  d.  1519.  | 

(1.)  Caterina,  Queen  of  France,  (2,)  Alessandro  (natural  son),  first  Duke 
d.  1589.  of  Florence,  d.  1537. 


470   Routt  64.  FLORENCE.  History  of  Art. 

sonages  of  antiquity ;  it  was  here  that  the  sources  of  classic  literature  were 
re-discovered  by  Niccolb  de'  Niccoli,  Traversari,  and  other  enthusiastic  col- 
lectors of  books  i  it  was  here  that  the  Platonic  Academy  developed  the 
study  of  the  antique  into  a  species  of  religious  worship,  and  most  of  the 
humanists,  including  Ficino,  Poggio,  Landini ,  Pico  delta  Mirandola ,  and 
Politian,  who  resided  here  for  longer  or  shorter  periods,  received  encourage- 
ment and  distinction  at  Florence.  Even  after  the  decline  of  'humanism' 
Florence  continued  to  surpass  the  rest  of  Italy  in  intellectual  culture,  as 
the  names  of  Machiavelli,    Varchi,   Ouicciardini,  and  Galileo  testify. 

In  the  development  of  the  Fine  Auts  Florence  has  played  so  im- 
portant a  part,  that  her  art-history  is  in  many  respects  nearly  coincident 
with  that  of  the  whole  of  Italy.  We  therefore  refer  the  reader  to  our 
prefatory  article  on  the  subject,  and  shall  now  merely  direct  his  atten- 
tion to  those  points  which  more  specially  concern  Florence.  In  the  13th 
cent. ,  when  frequent  changes  of  the  constitution  and  constantly  recur- 
ring dissensions  of  factions  began  to  take  place,  and  when  private  citi- 
zens for  the  first  time  manifested  an  interest  in  public  life,  a  general 
taste  for  art  gradually  sprang  up  at  Florence.  With  characteristic  pride 
the  Florentines  proceeded  to  erect  their  cathedral,  which  was  begun  by 
Aiiiolfo  di  Cambio  (1232-1301),  and  in  the  form  of  their  Palazzo  Vecchio, 
the  restless  aspect  of  their  political  life  is  distinctly  reflected.  The  la- 
bours of  Oiotto  (ca.  1267-1337)  entitled  Florence  to  be  regarded  as  the  head- 
quarters of  the  Italian  painting  of  the  14th  cent.,  while  the  journeys  under- 
taken by  him  from  Padua  to  Naples  were  the  means  of  rendering  his  style 
predominant  throughout  ■  the  peninsula.  Among  Giotto's  most  distin- 
guished pupils  we  may  mention  Taddeo  and  Agnolo  Gaddi,  Orcagna,  who 
was  also  noted  as  an  architect  and  sculptor,  Spinello  Arelino,  and  Oiottino. 
This  school  flourished  for  nearly  a  century.  The  year  1402  may  be  accepted 
as  the  dawn  of  the  Renaissance  in  Florence,  for  from  that  year  dates  the 
Abraham's  .Sacrifice  and  the  competition  for  the  doors  of  the  Baptistery 
(p.  478l.  In  architecture,  how  ever,  the  new  spirit  did  not  find  expre.ssion  until 
two  decades  later  (comp.  pp.  510,  5'2R).  While  Brunellescni  (1377-1446)  had 
adhered  to  the  national  traditions  in  his  palatial  architecture  (Palazzo  Pitti), 
he  derived  numerous  suggestions  for  his  churches  from  a  study  of  the 
antique,  particularly  in  the  execution  of  details.  His  successors  were 
Lecn  Battista  Alberti  (1404-72),  Uichelozzo  (13r6-1472),  Benedetto  da  Maiano, 
and  Cronaca.  Stimulated  by  the  example  of  thj  humanists,  the  artists  of 
this  period  aimed  at  versatility,  and  were  not  content  to  confine  their 
labours  to  one  sphere  of  art ;  so  that  we  frequently  hear  of  architects  who 
were  at  the  same  time  sculptors,  and  of  sculptors  and  goldsmiths  who  were 
also  painters.  Among  the  most  distingui.shed  Florentine  sculptors  of  the 
Renaissance  were  Lorenzo  Ghiberti  (1381-1455),  Luca  delta  Robbia  (1399-1482), 
who  has  given  bis  name  to  the  glazed  reliefs  in  terracotta,  and  above  all 
Donatella  (1386-1466),  the  greatest  master  of  the  century,  who  exercised  a 
profound  influence  on  the  development  of  Italian  sculpture,  and  is  justly 
regarded  as  the  precursor  of  Michael  Angelo.  The  energetic  life  and 
strong  individuality  of  his  figures  are  such,  that  their  deficiency  in  grace- 
fulness is  well-nigh  forgotten.  After  Donatello's  death,  Andrea  Yerrocchio 
(1436-88),  noted  also  as  a  painter  (see  below),  became  the  centre  of  a  large 
artistic  circle.  Beside  these  celebrated  sculptors  there  were  many  of  inferior 
reputation,  who  were  fully  occupied  both  here  and  at  Eome  in  the  execution 
of  tombstones. 

The  pioneers  of  painting  in  the  Renaissance  period  were  ifasaccio 
(1401-28),  Andrea  del  Castagno  (1390-1467),  and  Paolo  Uccello  (1397-1475), 
whose  immediate  successors  were  Pesellino  (1422-57),  Alessio  Baldovinetti 
(1427-99),  and  the  brothers  Aritoii'o  and  Pievo  PoUaiuolo  (1429-98  and  1443- 
ca.  1496).  The  chief  aims  of  the  school  were  to  master  the  technical 
intricacies  of  the  art,  to  invest  each  figure  with  oeauty,  to  arrange  the 
groups  harmoniously,  and  to  cultivate  a  faithful  portraiture  of  real  life. 
In  fervency  of  religious  sentiment  Fra  Angelica  da  Fiesole  (1387-1455),  by 
whom  Benozzo  Gozzoli  (p.  428)  and  Fra  Filippo  Lippi  (1406-69)  were  after- 
wards influenced,  stands  pre-eminent,  as  the  Robbia  stand  among  sculp- 
tors.   The  most  famous  representatives  of  the  school  were  Andrea  7er- 


Hutory  of  Art.  FLORENCE.  64.  Route.    471 

rocchio  Csee  p.  470),  Sandro  Bo«tceZZt' (1441-1510),  FiUppino  Lippi{cA.  1459-1504), 
a  son  of  Fra  Filippo,  and  Domentco  G/iirleaidaiu  (1449-94).  The  history  of 
Leonardo  da  Vinci,  Michael  Angelo  Buonarroti,  and  Raphael.,  the  princes  of 
Italian  art,  is  not  |iermanently  associated  with  Florence,  but  their  residence 
in  this  city  exercised  a  material  influence  on  their  respective  careers. 
Leonardo  and  Michael  .\ngelo,  both  Tu.'Jcans,  may  be  rejiarded  as  belonging 
to  Florence  owing  to  the  completion  of  their  studies  there,  and  it  was  at 
Florence  that  Raphael  supplemented  his  art  education,  and  shook  oflF  the 
trammels  of  the  I'mbrian  school.  About  1506  the  art  history  of  Florence 
attained  its  most  glorious  period.  Leonardo,  Michael  Angelo,  and  Raphael 
were  then  engaged  here  together,  and  with  them  were  associated  Lorenzo 
di  Credi  (1459-1537),  a  master  closely  allied  to  Leonardo,  the  fanciful 
Piero  di  Cosimo  (1462-1521),  Fra  Bartolomeo  (1475-1517),  an  intimate  friend 
of  Raphael,  and  the  talented  colourist  .inrfrea  del  Sario  (14S61531),  while 
the  last  two  were  rivalled  by  Albertinelli,  Franciabigio,  and  Pontormo. 
Ridol/o  Ohirlandaio  lollows  the  steps  of  Leonardo  and  Raphael,  at  least 
in  his  portraits.  The  union  of  the  greatest  masters  at  Rome,  effected  by 
Julius  II.  and  Leo  X.,  at  length  detracted  from  the  reputation  of  Florence, 
and  the  despotii-  sway  of  the  Medici  tended  to  check  farther  development. 
After  the  IWh  cent.  Florence  produced  no  architecture  worthy  of  note; 
and  the  provinces  of  paintiut;  and  sculpture,  although  cultivated  with 
more  success,  now  proved  destitute  of  depth  and  Independence.  Florence 
was  the  chief  headquarters  of  the  mannerist  imitators  of  Michael  Angelo, 
the  most  eminent  of  whom  were  Oiorgio  Vdsari,  the  well-known  biographer 
of  artists  (1512-74),  Angela  Bronzino,  and  Altssandro  Allori.  Amonc  sculp- 
tors may  be  mentioned  Beavennio  Cellini  (150'l-1572),  also  eminent  as  a 
goldsmith,  and  Giovanni  da  Bologna  (15'J9-l(30S),  properly  Jean  Boitlonge, 
of  Douai,  in  French  Flanders.  In  the  17th  cent  the  principal  Florentine 
artists  were  Lodorico  Cardi,  surnamed  Cigolt  (1559-1613),  Cristofano  Allori 
(15781621),  Francetco  Furini  (ca.  1600-46),  and  the  insipidly  sweet  Carlo 
Dolci  (1616-86). 

Florence  was  originally  situated  wholly  on  the  right  bank  of  the 
Arno,  but  it  extended  at  an  early  period  in  the  middle  ages  to  the 
opposite  bank  also.  The  walls  of  the  city,  which  have  been  almost 
entirely  removed  since  1865,  were  constructed  at  the  same  time  as 
the  cathedral,  between  1285  and  1388.  The  ancient  Gates,  however, 
nearly  all  altered  or  added  to  in  1529,  have  been  spared.  The  follow- 
ing are  the  most  interesting:  Porta  alia  Croce  (PI.  I,  6),  erected  in 
1284,  with  frescoes  by  Ghirlandaio;  Porta  San  Gallo  (PL  H,  I,  1), 
erected  in  1330;  Porta  San  Frediano  (PI.  B,  4),  erected  in  1332  by 
Andrea  Pisano  (?);  Porta  Romana  (PI.  A,  7),  erected  in  1328  by 
Jacopo  Orcagna ;  and  Por^a  San  Miniato  (PI.  F,  8).  The  New  Quakters 
of  the  town  are  at  the  W.  end,  on  the  right  bank  of  the  Arno,  extend- 
ing as  far  as  the  Cascine  (p.  552),  and  also  to  the  N.  and  E.  of  the  Porta 
San  Gallo,  and  to  the  E.  of  the  old  town.  The  broad  Viali  di  Circon- 
vallazione  encircle  the  town  on  the  right  bank  under  various  names 
and  occupy  the  site  of  the  old  fortifications.  Since  1888  the  narrow 
and  quaint  streets  in  the  C«ntro,  the  quarter  bounded  by  the  Via 
Tornabuoni,  Via  de'Cerretani,  Via  de'Calzaioli,  and  Via  Porta  Rossa, 
have  been  gradually  giving  way  to  wider  and  more  regular  thorough- 
fares.  The  Ghetto,  or  old  Jewish  quarter,  was  in  this  part  of  the  city. 

Bridges.  The  oldest  of  the  six  bridges  which  connect  the 
banks  of  the  Anio  is  the  Ponte  alle  Grazie  (PI.  E,  F,  6,  7  ;  p.  547), 
or  Rubaconte,  constructed  in  1237,  modernized  and  widened  in 
1874.     The  Ponte  Vecchio  (PI.  D,  E,  G;  p.  537),  which  Is  said  to 


472    Route  6d.  FLORENCE.         Bridges,  Lungarno. 

have  existed  as  early  as  the  Roman  period,  and  was  finally  rehuilt, 
after  its  repeated  demolition,  by  Taddeo  Gaddi  in  1345,  consists  of 
three  arches.  The  Ponte  Santa  Trinith  (PI.  D,  5 ;  p.  536)  was 
originally  erected  in  1252,  and  rebuilt  in  1567-70  by  Bartolomeo 
Ammanati.  The  Ponte  alia  Carrara  (PI.  C,  4 ;  p.  535),  originally  built 
in  1218-20,  destroyed  together  with  the  Ponte  Vecchio  by  an  in- 
undation in  1333,  and  restored  in  1337,  was  partly  rebuilt  in  1559 
by  Ammanati  and  restored  and  widened  in  1867.  Besides  these,  there 
is  an  Iron  Bridge  at  each  end  of  the  town  (toll  5  c,  carriages  42  c.). 
The  river  is  bordered  on  both  sides  by  handsome  quays,  called 
the  LiJNGABNO,  of  which  the  different  parts  are  the  Lungarno  Corsini, 
Lungarno  Amerigo  Vesjiucci  (formerly  Nuovo'),  Lungarno  Serristori^ 
Lungarno  Oiucciardini,  etc.  The  most  frequented  squares  are  the 
Piazza  Vittorio  Emanuele  (PI.  E,  4,  5),  in  the  Centro,  the  Piazza 
delta  Signorfa  (PI.  E,  5),  and  the  Piazza  del  Duomo  (PI.  E,  E,  4). 
The  busiest  streets  are  the  Via  Tornabuoni  (PI.  D,  4,  5),  the  Via  de' 
CalzaioU  (PI.  E,  5),  the  Via  de'Cerretani  (PI.  E,  4),  the  Via  degli 
Strozzi  (PL  E,  4),  and  the  Via  Por  Santa  Maria  (PI.  E,  5).  Many  of 
the  other  streets  also  take  their  names  from  old  families,  the  guilds, 
public  games,  trades,  and  the  like.  The  streets  were  first  paved 
with  tiles  in  1237,  and  in  the  second  half  of  the  same  century  with 
stone  slabs  (lastrico).  Numerous  castle -like  houses  of  Dante's 
period  still  exist  in  the  small  streets  between  the  Amo ,  Mercato 
Nuovo,  and  Santa  Croce. 

a.  Piazza  della  Signoria,  Piazza  del  Duomo,  and  their 
Neighbourhood. 

The  *  Piazza  dblla  Signokia  (PI.  E,  5),  with  the  Palazzo 
Vecchio  and  the  Loggia  dei  Lanzi,  once  the  forum  of  the  republic, 
and  the  scene  of  its  popular  assemblies  and  tumults,  its  festivals 
and  executions,  is  still  an  important  centre  of  business  and  pleasure. 

The  *  Palazzo  Vecchio  (PL  E,  5,  6),  a  castle-like  building 
with  huge  projecting  battlements,  was  mainly  built  in  1298-1314 
from  Arnolfo  di  Camhio's  designs  and  extended  to  the  Via  dei  Leoni 
by  Vasari,  Buontalenti,  and  others  in  1548-93.  The  interior  was 
partly  reconstructed  in  1454  and  1495.  Down  to  1532  it  was,  under 
the  name  of  Palazzo  dei  Priori,  the  seat  of  the  Signoria,  the  govern- 
ment of  the  republic,  subsequently  (1540-50)  it  was  the  residence  of 
Cosimo  I.  (comp.  pp.  517,  538),  and  it  is  now  used  as  a  town-hall. 
The  slender  tower,  308  ft.  in  height,  commands  the  neighbouring 
streets ;  the  upper  part  dates  from  1453.  The  inscription  placed  over 
the  door  in  1529  ('Jesus  Christus  Rex  Florentini  populi  s.  p.  decreto 
electus')  was  altered  by  Cosimo  I.  to  'Rex  regum  et  Dominus  domi- 
nantium'.  To  the  left  of  the  entrance  is  a  tablet  showing  the  result 
of  the  plebiscite  of  1860.  From  1504  down  to  1873  the  famous 
statue  of  David  by  Michael  Angelo,  which  is  now  in  the  Academy 
(p.  520),  stood  here.    On  the  right  is  a  group  of  Hercules  and  Cacus 


a.  Piazza  della  Signoria.     FLORENCE.  04.  Route.    473 

by  Michael  Aiigelo's  rival  Baccio  BandinelU,  who  hoped  to  excel 
the  great  master  in  this  work  (p.  Iv).  The  two  insignificant  statues 
by  BandinelU  and  Rossi  on  each  side  of  the  entrance  were  used  as 
chain-posts. 

The  outer  Cohbt  was  renewed  by  Michelozzo  in  the  Renaissance  style 
in  1454.  The  elaborate  decorations  of  the  columns,  the  grotesques  on  the 
ceiling,  and  the  faded  views  of  Austrian  towns  were  added  by  Marco  da 
Faenza  in  1565,  in  honour  of  the  marriage  of  Francesco  (afterwards  Grand- 
Duke)  to  Johanna  of  Austria.  In  the  centre,  above  a  large  basin  of  porphyry 
(1556),  is  a  "Boy  with  a  fish  as  a  fountain-tigure,  by  Andr.  Verrocchio, 
originally  made  for  a  villa  of  Lorenzo  de'  Medici.  At  the  back  are  Samson 
and  a  Philistine  (a  caricature  of  Michael  Angclo)  by  Eossi.  The  armorial 
bearings  above  the  colonnade  include  those  of  Florence  (lily),  the  People 
(cross),  the  Parte  Guelfa  (eagle),  and  the  Medici  (balls),  and  the  combined 
colours  (red  and  white)  of  Florence  and  Fiesole. 

Interior  (guide,  unnecessary,  2  fr.).  Entering  by  the  door  on  the  left, 
we  ascend  the  stairs  to  the  Fikst  Floor  and  enter  (door  on  the  right)  the 
Great  Hall  (Sola  dei  Cinqnecento;  always  open),  constructed  by  Cronaca 
in  1495  for  the  Great  Council,  created  on  the  expulsion  of  the  Medici.  It 
was  occupied  as  quarters  for  the  Spanish  troops  in  1512,  and  reconstructed 
by  Vasari  in  1567  et  seq.  In  1569  Cosimo  I.  here  assumed  the  dignity  of 
grand-duke,  and  in  1865-70  the  hall  was  used  for  the  sittings  of  the  Italian 
Parliament.  In  1503  Leonardo  da  Vinci  and  Michael  Angela  were  com- 
missioned to  decorate  the  hall  with  frescoes  from  Florentine  history. 
Leonardo  executed  a  cartoon  of  the  Battle  of  Anghiari  (defeat  of  the 
Milanese  in  1410),  and  Michael  Angelo  designed  his  'Bathing  Soldiers' 
(Florentines  surprised  by  the  Pisans  before  the  battle  of  Cascina,  in  1364). 
Both  cartoons  have  perished  (Michael  Angelo's  torn  up  by  Baccio  BandinelU 
in  1512),  as  well  as  the  small  portion  from  Da  Vinci's  transferred  in  fresco 
to  the  walls  (Battle  for  the  Standard).  The  hall  is  now  adorned  with 
frescoes  (on  the  walls  and  cassetted  ceiling)  by  Vasari  and  his  pupils 
representing  scenes  from  the  wars  against  Pisa  and  Siena ,  with  tapestry, 
and  with  six  groups  of  the  labours  of  Hercules  by  Rossi.  By  the  cnd- 
wall  (S.)  is  a  colossal  marble  Statue  of  Savonarola,  liy  Pagfii,  1881.  Opposite 
are  portrait-statues  of  the  Medici  by  Baccio  BandinelU.  —  The  adjoining 
QUARTIERE  Di  Leone  Decimo,  mw  partly  occupied  by  the  Ufllzio  del  Sindaco, 
is  seldom  accessible.  The  Sala  di  Leone  X.  is  adorned  with  scenes  from  the 
life  of  that  pope;  in  the  Salollo  di  Clemente  Settinio  is  a  view  of  besieged 
Florence ;  the  Camera  di  Giovanni  delle  Bande  A'ere  contains  portraits  of 
that  Medicean,  of  his  mother  Caterina  Sforza,  of  his  wife  Maria  Salviati, 
and  of  Cosimo  I.,  as  a  boy ;  in  the  Camera  di  Cosimo  Primo,  that  prince  appears 
surrounded  by  artists;  there  is  a  similar  picture  in  the  Camera  di  Lorenzo 
il  Magnifico.  The  figures  are  all  by  Vasari;  the  grotesque  designs  by /"occe^fj. 

Returning  from  the  Great  Hall  to  the  stairway  and  traversing  a  corridor 
which  passes  a  fine  marble  doorway  (15th  cent.),  we  enter  the  Sala  dei 
DuGENTO  (custodian  in  the  I'ffizio  del  Sindaco,  fee  50  c),  now  the  meeting 
place  of  the  C(m3iglio  Municipale.  The  fine  coffered  ceiling,  from  the 
designs  oi  Michelozzo  {1).  dates  from  1474;  the  tapestry,  after  Bromino  s-nd. 
other  masters,  represents  the  story  of  Joseph.  —  We  next  ascend  to  the 
Second  Floou,  containing  the  Qdaktieee  di  Kleonoka  di  Toledo  (adm., 
see  p.  464).  Wo  first  enter  the  Sala  de'  Gigli  or  dell'  Orologio,  with  its 
fine  cotVered  ceiling  and  its  imposing  frescoes  by  Domenico  Ohirlandaio, 
representing  St.  Zenobius  and  heroes  of  Roman  history,  in  a  fine  archi- 
tectural frame-work.  —  A  very  handsome  door,  adorned  with  intarsia  work 
(portraits  of  Dante  and  Petrarch)  by  Qiuliano  da  Maiano  and  enclosed  in 
a  fine  marble  frame -work  by  Benedetto  da  Maiano.,  now  leads  into  the 
Sala  d'Udienza,  which  has  a  coffered  ceiling  by  Marco  del  Tasso  and 
frescoes  by  Salviati  (story  of  Camillus).  Then  the  Cappella  de'  Priori 
di  San  Bernardo,  with  a  ceiling  painted  in  imitation  of  mosaic  by  Rid. 
0/iirlandaio,  and  a  crucifix  over  the  altar  attributed  to  Oiov.  da  Bologna. 
The  next  room  contains  some  unimportant  pieces   of  sculpture,   and  the 


^14:   Route  64.  FLORENCE,    a.  Piazza  dellaSignoria. 

next  a  Holy  Family  by  Sandro  Botticelli  (early  work")  and  other  paintings.  — 
We  traverse  a  number  of  apartments,  with  unimportant  paintings  by 
Vasari  (Apotheosis  of  the  Meriici)  and  grotesque  designs  by  Foccflti,  and 
return  through  the  Guakdaboba.  with  52  large  mapg  drawn  by  Ignazio 
Danti  (ca.  1563),  to  the  Sala  de'  Gigli. 

At  the  N.  corner  of  the  editlce  is  a  lion  in  hronze,  the  heraldic 
emhlem  of  the  town,  a  modern  copy  of  the  original  by  Donatello, 
known  as  H  Marzocco,  and  now  preserved  in  the  Museo  Nazionale 
(p.  500).  To  the  left  is  the  Great  Fountain,  with  Neptune  ('il 
Biancone')  and  Tritons  by  Bartolomeo  Ammanati  and  four  sea-god- 
desses of  the  Srhool  of  Oiov.  da  Bofoyna,  finished  in  1575.  In 
front  of  it  a  Bronze  Slab  (1901)  marks  the  site  of  the  stake  at 
which  Savonarola  and  two  other  Dominican  monks  were  burned  on 
May  23rd,  1498. 

A  little  to  the  left  is  the  *Equestrian  Statue  of  Grand-Duke 
Cosimo  /.,  in  bronze,  by  Giovanni  da  Bologna  (1594).  —  Almost 
opposite  the  statue  is  the  Palazzo  Vguccioni,  an  edifice  in  the  florid 
Renaissance  style  by  Mariotto  di  Zanobi  Folfi  (ca.  1550j,  with  a 
rustica  lower  story  and  coupled  pilasters  between  the  windows. 

On  the  W.  side  of  the  piazza  rises  the  Palazzo  Fenzi,  built  by 
Landi  (1871)  in  the  early-Florentine  style,  which  has  been  adopted 
in  many  of  the  newer  edifices.  In  the  S.  angle  of  the  piazza, 
in  front  of  the  Palazzo  degli  Ufflzi  (p.  483),  rises  the  — 

*Loggia  dei  Lanzi  (PI.  E,  5),  originally  called  Loggia  dei  Sig- 
nori,  a  magnificent  open  vaulted  hall  of  the  kind  with  which  it  was 
usual  to  provide  both  the  public  and  private  palaces  of  Tuscany, 
designed  in  the  present  case  for  solemn  ceremonies  which  it  might 
be  desirable  to  perform  before  the  people.  This  structure  was  pro- 
jected in  1356,  having  perhaps  been  designed  by  Orcagna,  but  was 
not  erected  till  1376-82.  Benci  di  Cione  and  Simone  di  Francesco 
Talenti  are  said  to  have  been  the  architects.  Both  the  style  of  the 
architecture  and  the  sculptures  (Faith,  Hope,  Charity,  Temperance, 
and  Fortitude),  by  Giov.  d' Ambrogio  and  Jacopo  di  Piero  (1383-87), 
exhibit  an  incipient  leaning  to  Renaissance  forms.  The  present 
name  of  the  loggia  dates  from  the  time  of  the  Grand-Duke  Cosimo  I., 
when  his  German  spearmen  or  'lancers'  were  posted  here  as  guards. 

By  the  Steps  are  two  lions;  that  on  the  right  is  antique,  the  other 
by  Flaminio  Vacca  (1600)  —  Under  the  arches,  to  the  right,  is  the  *Rape  of 
the  Sabines,  a  bold  and  skilful  group  in  marble  executed  by  Giovanni 
da  Bologna  in  1583,  with  a  lifelike  relief  on  the  base ;  on  the  left,  "Perseus 
with  the  head  of  the  Medusa,  in  bronze,  the  masterpiece  of  Benvenuto 
Cellini  (1553),  who  also  executed  the  statuettes  and  bas-reliefs  of  the 
pedestal  (one  of  the  reliefs,  now  in  the  Bargello,  is  replaced  by  a  cast) ; 
behind  it  the  Rape  of  Polyxena,  a  large  group  in  marble  by  Pio  Fedi,  erected 
in  1866.  To  the  left  of  the  latter,  •'Judith  and  Holofernes  in  bronze,  by 
Donatello  (ca.  1440;  comp.  p.  1),  with  the  inscription  'Salutis  Publicse 
Exemplum',  erected  in  front  of  the  Palazzo  Vecchio  after  the  expulsion 
of  the  Medici  (1495)  but  replaced  there  by  Michael  Angelo's  David  in 
1504.  In  the  centre,  "Menelaua  with  the  body  of  Patroclus,  an  antlcjue  but 
freely  restored  copy  of  the  so-called  Pasquino  at  Rome,  and  brought  thence 
in  1570.  To  the  right  of  it,  Hercules  slaying  the  centaur  Nessus,  in  marble, 
by  Oiov.  da  Bologna.    By   the  wall  at  the  back  are  five  antique  portrait- 


o.  5!5.  ApoitolL  FLORENCE.  64.  Route.   475 

statnes,  and  a 'Mourning  Woman  ('Germania  devicta'';  the  so-called  Thns- 
nelda;  3rd  from  the  left),  in  which  the  expression  of  grief  in  the  barbaric 
but  noble  countenance  is  admirably  depicted. 


Between  the  Ufflzi  (p.  483)  and  the  Palazzo  Vecchio  the  Via 
della  Ninna  leads  to  the  E.  to  the  Via  de'  Neri,  in  which  is  situated 
the  Loggia  del  Grano  (PI.  E,  61,  erected  by  Giulio  Parigi  in  1619.  — 
By  the  Via  de'  Gondi  to  the  Bargello,  with  the  National  Museum^ 
see  p.  499. 

From  the  W.  side  of  the  Piazza  della  Signoria  the  short  Via 
Vacchereccia  leads  to  the  busy  Via  Por  Santa  Mabia  (PI.  E,  5), 
■which  ends  at  the  Ponte  Vecchio  (p.  537 ).  In  the  latter,  at  the  corner 
of  the  Via  Lambertesca,  rises  (left)  the  Torre  dei  Oirolami,  the 
tower  of  an  old  patrician  castle;  farther  on,  a  little  back  from  the 
street,  is  the  old  church  of  Santo  Stefano  (PI.  E,  5,  6),  where  Boc- 
caccio, by  desire  of  the  Signoria,  publicly  explained  Dante's  Divine 
Comedy  in  1373.  —  The  narrow  Borgo  Santi  Apostoli  begins  opposite 
the  tower  and  leads  to  the  W.,  passing  the  Palazzo  Rosselli  del  Turco 
(No.  15;  on  the  left),  built  for  the  Borgherini  by  Baccio  d'Agnolo, 
to  the  little  Piazza  del  Limbo,  in  which  rises  the  church  of  — 

Santi  Apostoli  (PI.  D,  5),  a  Tuscan-Romanesque  basilica  of 
the  11th  cent.,  with  an  inscription  (on  the  fa(;ade,  to  the  left) 
attributing  its  foundation  to  Charlemagne.  The  arches  between  the 
nave  and  aisles  are  adorned  with  a  fine  border  in  the  antique  style 
and  rest  upon  columns  with  well-executed  composite  capitals.  The 
aisles  are  vaulted.  At  the  end  of  the  left  aisle  is  an  elegant  ciborium, 
conjectured  to  be  an  early  work  by  Giov.  della  Robbia,  adjoining 
which  is  the  monument  of  Oddo  Altoviti  (d.  1507),  by  Benedetto  da 
Rovezzano.  The  sculptured  decoration  of  the  portal  is  also  by  the 
latter  artist.  —  Farther  on  are  the  Piazza  Santa  Trinith  and  the 
Via  Tomabuoni  (p.  533). 

The  Via  Por  Santa  Maria  is  connected  with  the  Piazza  Santa 
TrinitJi  also  by  the  Via  delle  Terme,  the  gloomy  buildings  in  which 
date  partly  from  the  13tti  century.  At  the  beginning  of  the  street, 
on  the  right,  stands  the  old  Office  of  the  Capitani  di  Parte  Oue.lfa 
(PI.  E,  5;  p.  463),  now  used  as  a  fire -station.  The  unfinished 
upper  story  of  the  building,  with  a  large  hall  (now  built  up),  was 
designed  by  Bninelleschi.  On  the  side  facing  the  Via  di  Capaccio 
are  the  arms  of  the  silk- weavers'  guild  (Arte  della  Seta);  the 
graceful  Loygetta  is  by  Vasari.  —  Adjacent,  in  the  little  Piazza 
San  Biagio,  is  the  Palazzo  Cagnarci  (15th  cent.;  restored  in  1903), 
with  an  open  loggia  on  the  upper  story. 

A  few  steps  from  here,  in  the  Via  Porta  Rossa,  the  first  street 
connecting  the  Via  de'  Calzaioli  (p.  476)  and  the  Piazza  Santa 
Trinitk,  lies  the  Mkhcato  Nuovo  (PI.  E,  5),  a  late -Renaissance 
structure  by  Oiov.  Bait.  Tajjo  (1547-51),  with  beautiful  arcades, 
where  flowers  and  straw  and  woollen  wares  are  now  sold.  The  market 
is  adorned  with  a  good  copy  of  the  antique  boar  in  bronze  (p.  486), 


476   Route  64.  FLORENCE.  a.  Or  San  Michele. 

by  Pietro  Tacca.  In  the  niches  are  modern  statues  of  celehrated 
Florentines,  among  them  Michele  di  Lando  by  Ant.  Bortone,  Giov, 
Villani  by  Trentanove,  and  Fernando  Cennini  by  Mancini.  Farther 
on  in  the  same  street  (No.  9;  on  the  left)  is  the  Palazzo  Davanzati 
(PI.  E,  5),  a  well-preserved  castellated  building  of  the  14th  cent., 
■with  a  picturesque  court. 

From  the  Piazza  della  Signoria  the  busy  Via  dbi  Calzaioli 
(PI.  E,  4,  5 ;  'street  of  the  stocking-makers')  leads  towards  the  N. 
to  the  Piazza  del  Duomo.  Immediately  to  the  left,  beyond  the  Via 
Porta  Rossa  (p.  475 ),  rises  the  church  of  — 

*0r  San  Michele  (PI.  E,  6),  so  called  after  the  oratory  of  San 
Michele  in  Orto,  which  originally  occupied  this  site  and  was  replaced 
by  a  grain  market  in  1284.  Only  the  lower  story  of  the  present  build- 
ing, dating  from  1337-1404,  is  used  as  a  church;  the  upper  story 
served  as  a  corn-magazine  down  to  1569  and  afterwards  as  a  deposi- 
tory for  the  state  archives.  The  external  decoration  of  the  edifice 
with  statues  was  undertaken  by  the  twelve  guilds,  whose  armorial 
bearings,   some  by  Luca  della  Robbia,  are  placed  above  the  niches. 

On  theE.  side,  towards  the  Via  de'  Calzaioli,  (r.)St.  Luke,  by  Giovanni  da 
Bologna,  1602  (judges, and  notaries;  comp.  p.  467);  ''Christ  and  St.  Thomas, 
hy  Andrea  Ve'rrocchio,  1483  (guild  of  the  merchants),  in  a  niche  by  Dona- 
tella ('strikingly  truthful  in  action  and  expression,  though  somewhat  over- 
laden with  drapery');  (1.)  John  the  Baptist,  by  Lor.  Ghiberti,  1414  (guild 
of  the  cloth-dealers) ;  a  serious  and  powerful  figure.  —  Then,  farther  to 
the  left,  on  the  S.  side,  (r.)  St.  John,  by  Baccio  da  Monielupo,  1515  (silk- 
weavers  ;  p.  467).  Beneath  the  adjacent  canopy  (physicians  and  apothecaries) 
was  formerly  placed  a  Madonna  which  has  been  removed  to  the  in- 
terior of  the  church.  —  On  the  left,  St.  James,  by  Ciuffagni  (furriers); 
St.  Mark,  hj  Donatella,  1413  (joiners;  'it  would  have  been  impossible' said 
Michael  AngeJo,  'to  have  rejected  the  Gospel  of  such  a  straightforward 
man  as  this').  —  On  the  W.  facade,  (r.)  St.  Eligiua,  by  Nanni  di  Banco,  1415 
(farriers);  St.  Stephen,  by  Lorenzo  Ghiberti,  1428  (wool-weavers;  'of  simple 
but  imposing  grace  in  attitude  and  drapery');  (1.)  St.  Matthew,  by  Ghiberti 
and  Michelozzo,  1422  (money-changers);  above  the  last,  two  charming 
statuettes  (the  Annunciation)  by  Niecalb  d^Arezzo  (?).  —  On  the  N.  side,  (r.) 
St.  George  by  Donatella  (armourers),  a  bronze  copy  of  the  original  figure 
(1416),  now  in  the  Kational  Museum  (p.  500);  below,  a  fine  marble  relief 
of  St.  George  and  the  Dragon  by  Donatella;  then  four  saints  by  Nanni  di 
Banco,  1408  (bricklayers,  carpenters,  smiths,  and  masons);  (1.)  St.  Philip, 
by  the  same  (shoemakers);  St.  Peter,  by  Donatella  (?;  youthful  work),  1408 
(butchers). 

In  the  Interior  (very  dark,  beft  light  about  10  a.m.;  entrance  on  the 
W.  side  in  the  morning),  which  consists  of  a  double  nave,  divided  by 
pillars,  to  the  right,  the  celebrated  '' Tabernacle  oi  Andrea  Orcagna,  in  marble 
and  precious  stones ,  with  numerous  statuettes  and  reliefs  from  sacred 
history,  completed,  according  to  the  inscription,  in  1359,  and  erected  over 
the  miracle-working  picture  of  the  Virgin.  The  best  reliefs  are  the  An- 
nunciation and  Marriage  of  the  Virgin  in  front,  and  her  Death  and  As- 
sumption, on  the  back.    Over  the  altar  i.?  a  Madonna  by  Bern.  Daddi  (1346). 

Behind  Or  San  Michele  is  the  Arte  della  Lana,  of  the  13th  cent., 
the  old  Guild  House  of  the  Wool  Weavers,  with  their  emblem  the 
lamb.  This  building  was  restored  in  1903-5  by  Enrico  Lusini,  and 
now  serves  as  the  exchange  and  the  seat  of  the  Dante  Society  (So- 
cieta  Dantesca  Italiana),  founded  in  1888.    On  the  N.E.  corner  of 


a.  Piazza  del  Duomo.      FLORENCP:.  64.  Route.  477 

tlie  exterior  is  an  old  tabernacle  by  Jacopo  di  Casentino  (^y,  the  in- 
terior coTitains  frescoes  of  the  end  of  the  14lh  century.  Fine  view 
from  the  tower. 

Opposite  Or  San  Michele,  in  the  Via  de'  Calzaioli,  is  the  Oratorio 
of  San  Carlo  Borromeo  (PI.  E,  5),  of  the  14th  cent.,  originally 
dedicated  to  the  archangel  Michael. 

The  ^■ia  Tavolini,  diverging  to  the  E.  by  this  church,  is  continued  by 
the  Via  Dante,  in  which,  at  the  corner  of  the  Via  Santa  Margherita  and 
opposite  tlie  old  Torre  della  Castac/na,  rises  a  lilock  of  buildings  (tastefully 
restored  in  1901)  formerly  in  the  possession  of  the  Aligldevi  family.  The 
so-called  Casa  di  Dante  here  (PI.  F,  5;  adm.  on  week-days  11-3),  which  ha? 
been  arbitrarily  described  as  the  birthplace  of  the  great  poet  only  since 
about  the  middle  of  the  19th  cent.,  was  rebuilt  in  1875. 

The  short  Via  degli  Speziali  (PI.  E,  5),  diverging  to  the  left 
beyond  Or  San  Michele,  leads  to  the  Pmssa  Vitiorio  Emanuele  (p.  532). 

The  Via'  de  Calzaioli  ends  at  the  Piazza  del  Duomo  (PI.  E,  F,  4), 
in  which,  immediately  to  the  right,  stands  the  Oratory  of  the 
Misericordia  (PI.  F,  4),  belonging  to  the  charitable  fraternity  founded 
in  1326,  that  succours  the  sick  poor  and  the  injured.  The  brothers 
are  frequently  seen  in  the  streets  garbed  in  their  black  robes,  with 
cowls  covering  the  head  and  leaving  apertures  for  the  eyes  only. 
The  oratory  contains  a  terracotta  relief  by  Andrea  della  Robbia  at 
the  altar ;  in  a  side-room  on  the  right  are  statues  of  the  Virgin  and 
St.  Sebastian  by  Benedetto  da  Maiano. 

To  the  left,  also  at  the  corner  of  the  Via  de'  Calzaioli,  is  the 
*Bigallo  (PI.  E,  F,  4;  restored  in  1881-2  and  1904),  an  exquisite 
little  Gothic  loggia,  built  in  1352-58,  for  the  'Capitani  di  Santa 
Maria',  for  the  exhibition  of  foundlings  to  the  charitable  public, 
and  afterwards  made  over  to  the  'Capitani  del  Bigallo',  a  similar 
fraternity.  Over  the  arcades  (N.)  are  a  relief  of  the  Madonna  by 
Alberto  di  Arnoldo  (1301)  and  two  almost  obliterated  frescoes  re- 
presentiTig  the  foundation  of  the  brotherhood  (1445). 

The  Intekiok  (adm.  see  p.  4114)  is  shown  by  the  custodian  who  livei 
next  door,  on  the  first  floor  of  the  orphanage  (Orfanotrolio).  The  chapel 
conta'ns  a  Madonna  and  two  angels,  an  altar-piece  hy  Alberto  di  Arnoldo 
(13G1);  the  predelhi  is  by  Rid.  Ghirlandaio  (1515).  —  The  treasurer's  room 
is  adorned  with  a  fresco-painting  of  Charity,  with  a  view  of  Florence,  by 
GiottinoCi).  —  First  Floor:  Early  Florentine  School,  Crucifixion,  in  the  By- 
zantine style  (ca.  1210);  Bern.  JJaddi,  Triptych  (1333) ;  Jac.  del  Sellccio,  Madonna 
and  two  angels  ;  Sodoma,  Bearing  of  the  Cross  ;  Style  of  Verrocchio,  Terracotta 
bust  of  Christ. 

Opposite  the  Bigallo  is  the  *Battistero  (PI.  E,  F,  4),  or  church 
oi  San  Giovanni  Battista,  originally  (down  to  1128)  the  cathedral  of 
Florence,  an  admirable  octagonal  structure  with  an  octagonal  cupola, 
rising  in  well-proportioned  stories,  defined  by  pilasters  and  embel- 
lished with  rich  variegated  marble  ornamentation  and  handsome 
cornices.  The  building,  which  was  extolled  by  Dante  ('mio  bel 
San  Giovanni',  Inf.  xix.  17),  was  probably  founded  in  the  7th  or 
8th  cent.,  but  was  remodelled  about  1200,  when  the  previous 
vestibule  was  replaced  by  the  present  choir-apse.  The  pillars  on 
the  exterior  angles  were  added  by  Arnolfo  di  Cambio  in  1293.    All 


478   Routi  64.  FLORENCE.  a.  Piazza 

children  torn  in  Florence  are  baptized  here.  —  The  three  celebrated 
**Bron&e  Doors  were  added  in  the  14th  and  15th  centuries. 

The  '"First  Door,  the  oldest  of  the  three,  on  the  S.  side,  opposite 
the  Bigallo,  was  completed  by  Andrea  Pisano  in  1336  after  six  years  of 
labour.  The  reliefs  comprise  scenes  from  the  life  of  John  the  15aptist 
and  allegorical  representations  of  the  eight  cardinal  virtues,  square  panels 
with  tastefully  executed  borders.  The  figures  are  full  of  vigorous  life 
and  simple  charm.  The  bronze  decorations  at  the  sides  are  by  Vittorio 
Ohiberti,  the  son  of  Lorenzo  (1452-62);  above  is  the  Beheading  of  John  the 
Baptist  by  Vine.  Danti,  1571. 

The  Second  Dook  (N.)  was  executed  in  1403-24  by  Lorenzo  Ohiberti, 
after  a  competition  in  which  his  designs  were  preferred  to  those  of  Jacopo 
della  Quercia,  Niccolo  d'Arezzo,  and  Branelleschi  (comp.  p.  501j.  Dona- 
tello  and  Michelozzo  were  among  his  assistants  in  making  the  castings. 
The  reliefs  represent  in  28  sections  the  history  of  Christ.  They  are  quite 
equal  to  those  of  Andrea  Pisano  in  clearness  of  arrangement,  nobility  of 
outline,  and  tenderness  of  conception,  while  they  surpass  them  in  richness 
of  picturesque  life  and  in  the  harmony  and  variety  of  movement  and  ex- 
pression in  the  individual  figures.  The  technical  execution  is  simply 
perfect.  The  figure  of  St.  John  the  Evangelist  is  the  grandest  in  the 
series.  Above  the  door,  the  "Preaching  of  John  the  Baptist  by  Fr.  Eustici, 
1511  (supposed  to  have  been  assisted  by  Leonardo  da  Vinci). 

The  "TniRU  Door,  facing  the  c;ithedral,  also  executed  by  Lorenzo  Ohi- 
berti (1425-52),  is  considered  a  marvel  of  art.  It  represents  ten  different 
scenes  from  Scripture  history:  (1.)  1.  Creation  and  Expulsion  from  Para- 
dise; (r.)  2.  Cain  slaying  his  brother  and  Adam  tilling  the  earth;  3. 
Noah  after  the  Flood,  and  his  intoxication;  4.  Abraham  and  the  angels, 
and  Sacrifice  of  Isaac;  5.  Esau  and  Jacob ;  6.  Joseph  and  his  brethren;  7. 
Promulgation  of  the  Law  on  Mt.  Sinai;  8.  The  Walls  of  Jericho;  9.  Battle 
against  the  Ammonites;  10.  The  Queen  of  Sheba.  The  artist  has  here 
wittingly  transgressed  the  limits  of  the  plastic  art  and  produced  what 
may  be  called  a  picture  in  bronze,  but  he  has  notwithstanding  shed  such 
a  flood  of  loveliness  over  his  creation  that  Michael  Angelo  pronounced 
this  door  worthy  of  forming  the  entrance  to  Paradise.  The  beautiful 
bronze  borders  are  also  by  Ghiberti,  who  has  introduced  his  own  portrait 
in  the  central  band  (the  man  with  the  bald  head,  to  the  left,  fourth  from 
the  top).  Over  the  door  the  "Baptism  of  Christ,  by  Andrea  Sansovino,  1502 
(completed  by  Vine.  Danti),  the  angel  by  Spinazzi  (18th  cent.)- 

The  whole  arrangement  of  the  "Interior  shows  that  its  builder  was 
well  acquainted  with  ancient  forms,  and  suggests  the  influence  of  the 
Pantheon  at  Rome.  In  front  of  each  of  the  eight  niches  below  stand  two 
columns  of  Oriental  granite  with  gilded  capitals.  Above  is  a  gallery  with 
Corinthian  pilasters  and  double  windows.  The  boldly  soaring  dome,  94  ft. 
in  diameter,  afforded  Brunellcschi  a  model  for  that  of  the  cathedral  (p.  479). 
The  choir-niche  is  adorned  with  mosaics  by  Fra  Jacopo  (1225-28),  a  com- 
panion of  St.  Francis  of  Assisi,  and  the  dome  with  others  by  Andrea  Tafi 
(d.  after  1320),  ApoUonio  Qreco,  and  others.  The  mosaics,  which  are  not 
distinguishable  except  on  very  bright  days,  have  been  frequently  restored. 
The  organ  is  a  work  of  the  celebrated  musician,  Ant.  Squarcialupi  (1476). 
On  the  pavement  are  an  early  niello,  with  the  zodiac  and  inscriptions, 
and  mosaics  (1200).  The  font  is  enriched  with  Pisan  reliefs  of  1371.  To 
the  right  of  the  high- altar  is  the  tomb  (frequently  imitated)  of  Pope 
John  XXIII.  (d.  1419),  who  was  deposed  by  the  Council  of  Constance, 
erected  by  Cosimo  de'  Medici;  the  recumbent  bronze  statue  by  Donatella, 
the  figures  of  the  three  Virtues  by  Michelozzo.  On  an  altar  to  the  left  of 
Andrea  Pisano's  door  is  a  statue  of  Mary  Magdalen  in  wood,  by  Donatella, 
unpleasantly  realistic  in  effect. 

Opposite  the  N.  side  of  the  Baptistery  is  a  column  of  speckled 
marble  (cipoUino),  called  the  Colonna  di  San  Zanobi,  erected  to 
commemorate  the  removal  of  the  relics  of  St.  Zenobius  in  1330. 
—  To  the  W.  of  the  Baptistery,  at  the  comer  of  the  Via  de'  Cerretani 


del  Duomo.  FLORENCE.  6d.  Route.    479 

(p.  626),  is  tlie  Pal.  Arcivescovile  (PI.  E,  4;  altered  in  1895)  or 
palace  of  the  archbishop,  with  a  fine  court  hy  G.  A.  Dosio  (1573). 
At  the  back,  towards  the  Piazza  dell'  Olio,  is  the  early  Tuscan  fagade 
of  the  small  church  of  Sa7i  Salvatore  dell'  Arcivescovado  (1121?; 
restored  in  1737). 

The  *Cathedi'al  (PI.  F,  4),  II  Duomo,  or  La  Cattedrale  di  Santa 
Mnria  del  Fiore,  so  called  from  the  liiy  which  figures  in  the  arms 
of  Florence,  was  erected  on  the  site  of  the  earlier  church  of  St.  lle- 
parata,  which  had  been  used  as  a  cathedral  since  1128.  The  erection 
was  decreed  by  a  popular  vote  of  1294.  The  first  architect  was  Ar- 
nolfo  di  Carnhio,  who  superintended  the  works  from  1296  down  to 
his  death  in  1301  and  was  succeeded  by  Giotto  (1334-36)  and  An- 
drea Pisono  (1336-49).  In  1357  the  plan  was  expanded,  and  the 
nave  with  its  spacious  vaulting  was  begun  from  a  design  by  Francesco 
Talenti.  The  exterior  was  also  farther  ornamented  with  marble  in 
harmony  with  the  original  details.  In  1366  a  commission  of  24  ar- 
chitects met  to  decide  the  form  of  the  choir  and  the  dome,  and  their 
plan  (of  1367)  has  since  been  adhered  to.  The  three  apses  were 
completed  in  1407-21.  On  19th  August,  1418,  was  announced  the 
public  competition  for  the  technical  execution  of  the  dome,  of  which 
Vasari  has  given  so  racy  an  account,  and  in  which  the  genius  of 
Filippo  Brunelleschi  secured  the  victory  in  spite  of  the  jealousy  of 
rivals  and  the  doubts  of  the  cognoscenti.  The  construction  of  the 
cupola  took  fourteen  years  (1420-34).  The  church  was  finally 
consecrated  on  March  25th  (the  old  Florentine  New  Year's  Day), 
1436,  but  the  lantern  on  the  top  of  the  dome,  also  designed  by 
Brunelleschi,  was  not  completed  till  1462.  The  building  (larger 
than  all  previous  churches  in  Italy,  comp.  p.  391)  is  555  ft.  in 
length  and  341  ft.  (across  the  octagon)  in  breadth;  the  dome  is 
300  ft.  high,  with  the  lantern  352  ft.  (ascent,  see  p.  481).  The  nave 
and  aisles  are  adjoined,  in  place  of  a  transept,  by  an  octagonal  domed 
space,  with  three  polygonal  apses.  The  unfinished  old  facade  (comp. 
pp.  483,  619)  was  removed  in  1588.  The  present  facade  was  erected 
in  1875-87  from  the  design  of  Emilio  De  Fabris  (p.  482),  which 
originally  contemplated  three  gables.  The  bronze  central  door  is  by 
Ant.  Passaylia  (1903),  the  side-doors  by  Gius.  Cassioli  (1899). 

Above  the  tirat  door  on  the  S.  side  is  a  Madonna  of  the  14th  century. 
The  decoration  of  the  second  S.  door  is  by  Piero  di  Giovanni  Tedesco  (1395-99) : 
foliage  with  naked  putti,  foreshadowing  the  Renaissance  spirit;  in  the 
lunette,  the  Madonna  between  two  angels.  —  The  corresponding  "N.  Door 
was  executed  by  Aiccolb  d^Areizo,  1408.  The  admirable  bas-relief  of  the 
Madonna  with  the  girdle,  over  the  door,  is  ascribed  to  Nanni  di  Banco  (1414). 
On  the  adjoining  pillars  are  two  figures  by  Donalello  (early  works;  1406  and 
1408),  who  executed  also  the  two  prophel.s'  heads  in  the  pediments  (1422). 

The  Interior,  though  somewhat  bare  and  dark,  is  very  impressive 
owing  to  its  grand  dimensions.  The  gallery  detracts  from  the  efl'ect  of  the 
arches.     The  choir  is  appropriately  placed  under  the  dome. 

On  the  entrance- wall,  to  the  riaht  of  the  main  entrance,  is  the  mon- 
ument of  Antonio  Orso,  Bishop  of  Florence  (d.  1321;  seated  lig>ue  ot  the 
dei-ea^ed),  by  Tino  di  Cainaino  of  Siena;  to  the  left  of  the  main  entrance 
is  a  marble  statue  of  Pope  John  XXII.  (1323),  preserved  from  the  old  fayade. 


^80  Route  64.  FLORENCE.       a.  Piazza  del  Duomo : 

Over  the  principal  portal :  Coronation  of  the  Virgin  in  mosaic,  by  Gaddo 
Gaddi;  at  the  sides,  frescoes  (angels)  by  Santi  di  Tito,  restored.  —  Over 
the  side-portals,  two  equestrian  portraits  (in  grisaille)  as  mural  tombs:  to 
the  right,  John  Hawkwood  (d.  1394J,  an  English  soldier- of- fortune  who 
served  the  Republic  in  1392  ('the  first  real  general  of  modern  tiroes',  ac- 
cording to  Hallaral,  by  Paolo  Uccello  (1436);  to  the  left,  the  condottiere 
Niccolo  da  Tolentino  (d.  1433),  by  Andrea  del  Castat/no  (1456).  —  The  designs 
for  the  stained  glass  in  the  three  windows  were  drawn  by  Lor.  Qhiberti; 
the  design  of  the  coloured  mosaic  pavement  is  attributed  to  Baccio  d''Agnolo. 

Right  Aisle.  Monument  of  Filippo  Brunelleschi  (d.  1446),  with  his 
portrait  in  marble,  by  Buggiano  (p.  482).  Statue  of  Joshua,  by  Ciuffagni; 
to  the  left  of  the  latter,  Bust  of  Giotto  by  Benedetto  da  Maiano  (1490), 
with  a  fine  inscription  by  Angelo  Poliziano  ;  (1.)  on  the  pillar  a  fine  re- 
ceptacle for  holy  water  of  the  14th  century,  (r. ;  over  the  door)  Monument 
of  General  Pietro  Farnesc  (d.  1361),  by  Agnolo  Oaddi  and  Pesello  (1395); 
farther  on.  Statue  of  Isaiah  by  Ciufagni;  statues  of  St.  Luke,  by  Nanni 
di  Banco,  and  St.  Matthew,  by  Ciuffagni,  executed  in  1403-16  along  with 
the  two  statues  of  Evangelists  on  the  opposite  side  and  originally  in- 
tended for  the  facade.  Bust  of  the  learned  Marsilius  Ficinus  (d.  1499),  by 
A.  Ferrucci  (1521)'  By  the  pillar  of  the  dome,  towards  the  nave,  St.  Matthew, 
a  statue  by  Vincemo  de^  Rossi;  opposite  to  it,  St.  James  the  Elder,  by 
Jacopo  Sansovino  (1513). 

Right  Arm  of  the  Outagon:  (r.)  St.  Philip,  (1.)  St.  James  the  Younger, 
by  Giovanni  dalV  Opera,  a  pupil  of  Baccio  Bandinelli.  Each  of  the  four 
side-chapels  is  adorned  with  two  saints,  painted  al  fresco  by  Bicci  di  Lorenzo 
(1427).  The  stained-glaas  windows  are  from  designs  by  A.  Gaddi.  —  Over 
the  door  of  the  S.  Saoeisty  (Sagrestia  Vecchia) ,  a  relief  (Ascension)  by 
Luca  delta  Robbia  (1446);  within,  two  angels  by  the  same.  In  this  sacristy 
Lorenzo  de'  Medici  sought  refuge  in  1478,  on  the  outbreak  of  the  con- 
spiracy of  the  Pazzi  (p.  4li8),  to  which  his  brother  Giuliano  fell  a  victim, 
while  attending  mass  in  the  chtiir. 

In  the  E.  part  of  the  Nave  (  Tribuna  di  San  Zanobi),  by  the  piers,  statues 
of  (r.)  St.  John,  by  Benedetto  da  Rovezzano,  and  (1.)  St.  Peter,  by  Baccio 
Bandinelli.  —  Below  the  altar  of  the  chapel  of  St.  Zenobius  is  a  bronze 
*Reliquary  containing  the  remains  of  the  saint,  with  representations  of 
his  miracles,  by  Lorenzo  Ghiberti  (1440).  The  stained-glass  windows  are 
also  from  designs  by   Ghiberti. 

The  octagonal  Choik  occupies  the  space  beneath  the  dome.  Its  marble 
screens,  designed  by  Giuliano  di  Baccio  d' Agnolo,  and  adorned  with  bas-reliefs 
of  the  apostles  by  Bandinelli  (with  the  initials  B.  B.  and  date  1555)  and 
Giovanni  dalV  Opera,  were  erected  to  replace  the  original  wooden  screens 
of  Ghiberti.  Behind  the  high-altar,  an  unfinished  group  (Pieta)  by  Michael 
Angelo  (late  work).  —  The  paintings  in  the  octagonal  dome,  begun  in  1572 
by  Vasari,  and  continued  by  Federigo  Zucehero  (prophets,  etc.),  diminish 
its  impressive  effect.  The  windows  in  the  drum  of  the  dome  were  exe- 
cuted by  Bernardo  di  Francesco  from  designs  by  Ghiberti  (Presentation 
in  the  Temple),  Donaiello  (Coronation  of  the  Virgin),  and  Paolo  Uccello 
(Adoration  of  the  Magi). 

The  bronze  'Door  of  the  N.  Saceisty  (Sagrestia  Nuova),  originally  en- 
trusted to  Donatello,  was  executed  by  Luca  delta  Robbia,  aided  by  Maso 
di  Bartolomeo  and  Michelozzo  (1446-67).  In  the  central  panels  are  Evangel- 
ists, fathers  of  the  church,  etc.,  surrounded  by  small  portrait-heads.  Above 
it,  a  bas-relief  in  terracotta  (Resurrection)  by  Luca  della  Robbia  (1443). 
The  intarsia  work  and  frieze  of  children  on  the  cabinets  in  this  sacristy 
were  executed  from  designs   by  Giuliano  and  Benedetto  da  Maiano. 

Left  Akm  of  the  Octagon.  Statues  of  St.  Andrew  and  St.  Thomas  by 
Andrea  Ferrucci  (1512)  and  Vine,  de'  Rossi.  In  the  chapels,  frescoes  by  Bicci 
di  Lorenzo.  The  ten  stained-glass  v^indows  are  ascribed  to  Lor.  Ghiberti. 
In  the  tribune  is  a  round  brass  slab,  placed  here  in  the  year  1511  for  the 
purpose  of  making  solar  observations  through  a  corresponding  aperture 
in  the  dome.  In  1755  P.  Leonardo  Ximenes  added  a  graduated  dial  in 
order  to  admit  of  more  accurate  observations,  as  an  inscription  on  the 
left  entrance-pillar  records. 


Cathedral.  FLORENCE.  6d.  Route.    481 

Left  Aisle.  By  the  side-door  is  a  portrait  of  Dante,  with  a  view  of 
Florence  and  scene  from  the  Divine  Comedy,  painted  on  wood  by 
Domenico  di  Michelino  in  1465  by  command  of  the  republic.  Statue  of 
David  by  Citiffagni  (1434).  Statues  of  St.  Mark,  by  Niccolb  d^Arezzo,  and 
•St.  John,  an  early  work  by  Donalello  (comp.  p.  480).  Bust  of  Antonio 
Sijuarcialupi  (p.  478)  by  Benedetto  da  Maiano.  Then  Arnolfo,  with  the 
design  for  the  cathedral,  a  medallion  in  high  relief  by  Lor.  Bartolini  (1843). 
"Statue  of  Poggio  Braccio]ini(V),  secretary  of  state,  by  Donatello,  admirably 
individualised.  On  the  first  pillar,  St.  Zenubius,  a  picture  of  the  school 
of  Orcagna. 

The  Ascent  of  the  Dome  (p.  479)  is  very  interesting,  both  for  the 
sake  of  obtaining  an  idea  of  its  construction,  and  for  the  'View  (more 
extensive  than  from  the  Campanile,  see  below).  Entrance  by  a  small  door 
in  the  left  aisle  (open  7-12  in  summer,  9-12  in  winter;  adm.  50c.);  easy 
ascent  of  463  steps  to  the  upper  gallery. 

The  *Cainpanile  (PI.  F,  4),  or  bell-tower,  begun  by  Giotto  in 
1334-3G,  carried  on  after  his  death  by  Andrea  Ptsano  and  Franc. 
Talentl,  and  completed  in  1387,  a  square  structure  276  ft.  in  height, 
is  regarded  as  one  of  the  finest  existing  works  of  the  kind.  It  consists 
of  four  stories,  richly  decorated  with  coloured  marble.  The  win- 
dows, which  increase  in  size  with  the  different  stories,  are  enriched 
with  beautiful  tracery  in  the  Italian  Gothic  style.  On  the  W.  side  are 
four  statues,  the  first  three  of  which  are  by  Donatello,  viz.  John  the 
Baptist  (1416;  little  inferior  to  the  St.  George,  p.  500),  *David  (?), 
the  celebrated  'Zuccone'  or  bald-head,  and  *Jeremiah.  The  fourth 
(Obadiah)  is  by  his  assistant  Rosso  (1420).  On  the  E.  side  are 
Habakkuk  and  Abraham's  Gifering,  by  Donatello  (the  latter,  1421, 
partly  by  Ros.to),  and  two  patriarchs  (Moses  and  Joshua?)  by  Rosso 
(1421;  the  former  partly  by  Donatello).  On  the  N.  and  S.  are  sibyls 
aTid  prophets.  Below  these  figures,  on  the  sides  of  the  tower,  are 
*Bas-reliefs ;  those  on  the  W.,  S.,  and  E.  sides  by  Andrea  Pisano 
(from  alleged  designs  by  Oiotto)  and  those  on  the  N.  by  Luca  delta 
iiobbia  (1437):  the  Seven  Cardinal  Virtues,  the  Seven  Works  of 
Mercy,  the  Seven  Beatitudes,  and  the  Seven  Sacraments.  In  the 
lower  series  is  represented  the  development  of  mankind  from  the 
Creation  to  the  climax,  of  Greek  science  (among  the  best  are  the 
Creation  of  Eve,  Adam  and  Eve  at  work,  Dwellers  in  tents,  Astro- 
nomer, Rider,  Weaving,  Navigation,  Agriculture),  while  the 
liberal  arts  are  represented  by  figures  of  Phidias,  Apelles,  Donatus, 
Orpheus,  Plato,  Aristotle,  Ptolemy,  Euclid,  and  a  musician. 

'The  characteristics  of  Power  and  Beauty  occur  more  or  less  in  different 
buildings,  some  in  one  and  some  in  another.  But  ail  together,  and  all 
in  their  highest  possible  relative  degrees,  they  exist,  so  far  as  I  know, 
only  in  one  building  in  the  world,  the  Campanile  of  Giotto'.  —  Ruskin's 
''Seven  Lamps  of  Architeclure\ 

The  campanile  is  ascended  by  a  good  staircase  of  414  steps  (fee 
*/»-l  fr.).  Beautiful  View  from  the  top,  embracing  the  city,  the 
valley  in  which  it  lies,  the  neighbouring  heights,  studded  with  vi;las  and 
richly  cultivated,  and  the  mountains  to  the  N.,  S.,  and  E.  At  the  summit 
are  seen  the  piers  on  which,  according  to  Giotto's  plan,  it  was  proposed  to 
raise  a  spire  of  105  ft. 

On  the  8.   side  of  the  cathedral  is  the  Canonry  (^Palazzo  dei 
C  anonici,  Nos.  31,  32;  PI.  F,  4),  erected  in  1827  by  Gaetano  Baccani. 
Bakdiskjib.   Italy  I.   13th  Edit.  31 


482   Route  64.  FLORENCE.       a.  Piazza  del  Duomo : 

—  Into  the  wall  of  one  of  the  following  houses  (No.  29)  is  built 
the  Sasso  di  Dante,  a  stone  on  which  the  great  poet  is  said  to  have 
been  wont  to  sit  on  summer  evenings. 

Opposite  the  choir  of  the  cathedral  is  situated  the  Opera  del 
Duomo  (PI.  F,  4;  No.  24,  entrance  to  the  left  in  the  court).  Here 
was  opened  in  1891  the  ^Cathedral  Museum,  or  Museo  di  Santa 
Maria  del  Fiore,  containing  chiefly  works  of  art  from  the  cathedral 
and  the  baptistery  (adm.,  see  p.  464).  Lists  of  the  works  of  art  are 
supplied  for  the  use  of  visitors.    Catalogue  (1904)  V2  fr. 

Ground  Flooh.  In  the.  vestibule,  a  bust  of  Brunelleschi,  after 
his  death-mask,  by  his  pupil  Buqgiano.  Above  the  door  (left),  God 
the  Father  between  two  angels,  a  fine  coloured  relief  from  the  studio 
of  Luca  della  Robbia  (ca.  1450),  —  The  hall  contains  numerous 
architectural  fragments;  also,  40.  Figure  of  the  Madonna,  by  a 
master  of  tbe  Pisun  School  (13th  cent.);  51  (on  the  pillar  by  the 
staircase),  Etruscan  relief.  —  On  the  staircase  are  reliefs  from  the 
choir-screen  of  the  cathedral,  by  Baccio  Bandinelli  and  Giovanni 
dalV  Opera. 

First  Floor.  In  the  large  hall,  on  the  end-walls  (71  to  the  right, 
and  72  to  the  left),  are  the  Singing  Galleries  (Cantorie)  from  the 
cathedral,  with  the  celebrated  reliefs  of  children  by  Luca  della 
Robbia  (1431-38)  and  Donatella  (1433-38),  taken  down  in  1688  and 
put  together  again,  with  additions,  in  1890  by  Luigi  del  Moro.  The 
naive  charm  of  childhood  has  probably  never  been  better  expressed 
than  in  the  ten  clearly  and  beautifully  arranged  **Groups  of  singing 
and  dancing  boys  and  girls  by  Luca  della  Robbia,  which  are  equally 
attractive  for  their  truth  and  naturalness  and  for  their  grace  of 
movement  and  form.  The  four  *Reliefs  of  dancing  Genii  by  Dona- 
tello  are  full  of  vigour  and  expression,  but  meant  to  be  seen  from 
a  distance.  In  their  exuberant  vigour,  they  present  a  very  signi- 
ficant specimen  of  the  master's  work.  —  Also  on  the  right  end- 
waU:  108.  Intarsia  Tablet,  representing  St.  Zenobius  between  two 
deacons,  by  Oiuliano  da  Maiano.  —  On  the  left  side-wall :  Model  for 
the  facade  of  the  Cathedral,  by  De  Fahris  (d.  1883) ;  77.  Relief  of  the 
Madonna,  by  Agostino  di  Duccio.  On  the  back-wall  are  two  frames 
(87,  88)  with  elegant  Byzantine  miniatures  in  wax  mosaic  (11th 
cent.);  110.  Creation  of  Eve,  a  brown  glazed  terracotta  relief  by  a 
master  of  the  Florentine  School  (before  1450).  —  On  the  right  side- 
wall:  92,  93.  St.  Keparata  and  Christ,  marble  statuettes  by  Andrea 
Pisano;  94.  Madonna,  a  relief  by  Portigiani;  95,  96.  Annunciation, 
group  by  Niccolh  d'Arezzo  (more  probably  Ant.  di  Banco?}.  *97. 
Massive  Silver  Altar  from  the  Baptistery,  with  twelve  reliefs  from 
the  history  of  John  the  Baptist.  The  front  was  executed  in  1366- 
1402  by  Betto  di  Geri,  Leonardo  di  Ser  Giovanni,  and  others,  while 
the  statue  of  the  Baptist  was  added  by  Michelozzo  in  1451.  The 
four  side-reliefs,  including  the  fine  Birth  of  John,  'by  Ant.  Pollaiuolo, 
and  his  *Death,  by  Verrocchio,  date  from  1477-80.    Ou  this  altar, 


Spedale  di  S.  Maria.       FLORENCE.  64.  Route.   ^So 

98.  Silver  Cross  by  A.  Pollaiuolo  and  Betto  di  Franc.  i?e«i  (1457-59). 
Farther  on,  *106,  106.  Two  side-reliefs  from  Luca  delta  Robhia's 
cantoria  (p.  482|;  100,  101.  Woven  altar-hanging  and  chasuble, 
Venetian  works  of  the  lOth  century. 

The  Last  Room  contains  models  for  the  dome  of  the  Cathedral,  in- 
cluding Brwieikschi's  model  for  the  lantern  (164).  iG7.  Plaster  cast  of 
the  reliquary  of  St.  Zen  itiius  (p.  480).  On  the  back-wall,  131.  Drawing 
(16th  cent.)  of  the  original  farade  of  the  Cathedral,  destroyed  in  1588 
(comp.  p.  479);  128-130,  lo2-135^  Models  for  the  facade  of  the  Cathedral, 
all  from  the  end  of  the  I6th  or  beginning  of  the  ITth  cent. ;  numerous 
modern  designs  for  the  facade. 

From  the  Piazza  del  Dnomo  the  Via  del  Proconsolo  leads  to  the 
Museo  Nazionale  in  the  Bar^^ello  (p.  499),  the  Via  dei  Servi  to  the 
Santissima  ATinunziata  (p.  510)  and  the  Archjeological  Museum 
(p.  511),  the  Via  Ricaso'i  to  the  Accademia  di  Belle  Arti  (p.  520) 
and  San  Maixo  (p.  518),  the  Via  de'  Martelli  to  the  Pal.  Kiccardi 
(p.  517),  the  Borgo  S'tn  Lorenzo  to  S.  Lorenzo  (p.  526),  the  Via  de' 
Cerretani  to  Santa  Maria  Novella  (p.  529),  and,  finaDy,  the  ViadelV 
Arcivescovado  to  the  Piazza  Vittorio  Emanuele  (p.  532). 

In  the  Via  dell'  Orivolo  is  (r.)  the  branch  -  office  of  the  Banca 
d'ltalia  (PI.  F,  5),  by  Ant.  CipoUa  (1865). 

The  Via  Folco  Portinari,  diverging  to  the  left,  opposite  the  bank, 
leads  to  the  Piazza  Santa  Maria  Nuova  (PL  G,  4,  5),  with  the  large 
Spedale  di  Santa  Maria  Nuova,  the  oldest  hospital  in  the  town, 
founded  in  12l<5  by  Folco  Portinari,  the  father  of  Dante's  Beatrice. 
The  famous  picture  gallery  of  the  hospital  became  national  property 
in  1897  and  has  been  transferred  to  the  Ufflzi  (comp.  p.  489).  The 
facade  of  the  church  of  Sant'  Egiuio  is  adorned  with  a  portico  by 
Buontalenti.  Above  the  door  of  the  church  is  a  terracotta  relief  of 
the  Coronation  of  the  Virgin,  by  Bicci  di  Lorenzo  (1424).  The 
facade  is  also  embellished  with  two  frescoes  by  Bicri  di  Lorenzo  and 
Gherardo.  At  the  back  of  the  high-altar  arf  a  Madonna  by  Andrea 
della  Robbia,  and  a  marble  ciboriura  by  Bern.  Rossellino,  with  a 
bronze  door  by  Lor.  Ghiberti  (1450).  To  the  left  in  the  little  court 
of  the  liospital  is  a  fresco  of  Caritas  by  Giov.  da  San  Giovanni.  — 
The  house  opposite  the  hospital  (No.  29)  once  contained  Lorenzo 
Ghiberti  s  studio. 

The  Casa  di  Ricceri  (PI.  H,  4),  in  the  Via  della  Pergola,  which 
skirts  the  E.  side  of  the  Spedale  Santa  Maria  Nuova,  No.  59,  was 
once  occupied  by  Benvenuto  Cellini  (p.  470). 

b.  The  Uffizi  Gallery. 
At  the  comer  of  the  Pal.  Vecchio  (p.  472).  next  the  Aruo,  lies  the 
large  Palazzo  degli  Uffizi  (PI.  E,  6),  erected  in  1 560-74  by  Fasari,  for 
the  municipal  government.  It  now  contains,  on  the  left,  the  cel- 
ebrated Picture  Gallery  (p.  484)  and  the  National  Library  (p.  498), 
on  the  right,  the  Central  Archives  of  Tuscany  (p.  498)  and  the  Post 
Office.    Beneath  is  the  handsome  Portico  degli  Vffizi,  the  niches  of 

31* 


484   Route  64.  FLORENCE.  h.  Galleria 

which  were  adorned  with  Marble  Statues  of  celebrated  Tuscans  in 
1842-56.  On  the  side  next  the  Arno  is  a  statue  of  Cosimo  I.  by 
Giov.  da  Bologna,  with  figures  of  Justice  and  Power  by  Danti.  Fine 
view  hence  over  the  river  to  San  Miniato  (p.  650). 

Approaching  from  the  Piazza  della  Signoria,  we  enter  by  the 
second  door  to  the  left  under  theE.  portico,  and  ascend  by  a  staircase 
of  126  steps  (lift,  50  c.)  to  the  **Galleria  degli  Uffizi  (admission, 
see  p.  464). —  The  gallery  originated  with  the  Medici  collections,  to 
which  numerous  additions  have  been  made  down  to  the  most  recent 
times,  and  it  is  now  one  of  the  greatest  in  the  world,  both  in  extent 
and  value.  Many  of  the  best  pictures  are  often  removed  from  their 
usual  position  for  the  convenience  of  copyists,  but  their  whereabouts 
is  indicated  by  a  notice  on  the  vacant  space.  A  systematic  re- 
arrangement of  the  gallery  is  about  to  be  made  by  the  director, 
Dr.  Corrado  Ricci,  appointed  in  1903.  The  catalogue  (in  Italian, 
French,  or  English,  3  fr.)  has  not  liept  abreast  of  recent  criticism 
in  its  attributions  of  some  of  tlie  paintings. 

The  pictures  in  the  Tribuna  (p.  491)  are  the  choicest  in  the 
gallery,  as  their  position  indicates,  and  are  therefore  all  worthy 
of  careful  inspection.  These  are,  however,  by  no  means  the  only 
treasures  of  the  collection.  Thus  Fra  Angelico's  Coronation  of  the 
Virgin  (No.  1290;  p.  490)  ranlis  as  his  most  charming  creation; 
the  angels  at  the  sides  of  his  frequently  copied  winged  picture  of  the 
Madonna  and  angels  (No.  17;  p.  489)  are  more  interesting  than  the 
principal  picture  itself.  Among  the  other  Flobentine  works  of  the 
15th  cent,  we  may  first  mention  Fra  Filippo  Lippi's  Madonna  with 
angels  (1307;  p.  491),  and  four  works  of  »S'«ndroBot(iceWi;  around 
picture  of  the  Madonna  (1267  bis;  p. 491),  the  Adoration  of  the  Magi 
(1286;  p.  490),  so  much  extolled  by  Vasari,  and,  as  specimens  of 
other  subjects,  his  Birth  of  Venus  (39;  p.  490),  and  his  Calumny  after 
Apelles  (il82;  p.  491).  Fiiipp/no  Lipjji's  Madonna  and  saints  (1268; 
p.  490)  attracts  attention  by  its  size  and  clear  colouring ,  and  his 
Adoration  of  the  Magi  (1267  ;  p.  490),  with  its  numerous  figures,  is 
interesting  on  account  of  the  portraits  it  contains.  One  of  the  best  of 
the  early  masters  was  Domenico  Ghirlandaio,  whose  beautiful  round 
picture  of  the  Adoration  of  the  Magi  (1295 ;  p.  490),  and  the  Ma- 
donna with  saints  (1297 ;  p.  490),  are  remarkable  for  the  excel- 
lence of  the  composition  and  the  harmony  of  colouring.  The  full  im- 
portance of  this  master,  who  excelled  in  narrative  painting,  can  only 
be  perceived,  however,  in  the  domain  of  fresco-painting  (pp.  530, 
634,  535).  The  mythological  works  of  Piero  di  Cosimo  (1312; 
p.  491,  etc.)  betray  a  taste  for  fantastic  subjects,  from  which  Leon, 
da  Vinci  himself  was  not  entirely  free.  Pietro  Perugino,  Raphael's 
teacher ,  is  here  well  represented  only  by  his  brilliant  portraits 
(1217;  p.  491).  The  portrait  of  Raphael  by  himself  (288;  p.  485)  is 
genuine,  though  disfigured  by  retouching.  Other  paintings  by  this 
master  form  the  chief  gems  of  the  Tribuna  (p.  492).  A  very  effective 


degli  Vffizi.  FLORENCE.  6i.  Route.   485 

picture,  notwitlistanding  its  unfluished  coudition,  is  Leon,  da  Vinci  s 
rich  composition  of  the  Adoration  of  the  Magi  (1252 ;  p.  490). 
Another  very  important  work,  though  unfinished,  is  Fra  Bartolomeo' s 
Madonna  enthroned  (1265;  p.  490),  with  its  masterly  grouping.  The 
Visitation  of  Mary  (1259;  p.  490),  hy  MarioUo  Albertinelli,  an  as- 
sistant of  I'ra  Bartolomeo,  and  5ocfo?na's  St.  Sebastian  (1279;  p.  491) 
also  rank  among  the  finest  creations  of  Italian  art.  —  Among  the 
works  of  the  other  Italian  Schools  the  most  notable  are  Mantegna's 
Madonna  among  the  rocks  (1025;  p.  493),  and  among  the  numerous 
Venetian  pictures  Giovanni  Bellini  s  (?)  Madonna  by  the  lake  (631 ; 
p.  488),  T/fmn's Flora  (626  ;  p.  489),  two  works  by  Qiorgione  (621, 
630  ;  p.  486),  and  a  number  of  portraits. 

The  collection  is  also  rich  in  works  of  northern  origin,  the 
better  of  which,  in  spite  of  the  proximity  of  the  more  studied 
Italian  pictures,  maintain  their  peculiar  charm,  owing  to  their 
depth  of  colouring  and  their  unsophisticated  realism.  Among  the 
works  of  the  Early  Flemish  School,  an  Adoration  of  the  Child, 
the  chief  work  of  the  rare  master  iJitjfo  van  der&'ofs  (48-50;  p.  495), 
and  a  small  Madonna  by  Memling  (703 ;  p.  496)  are  specially  at- 
tractive. Among  the  principal  German  masters,  Diirer,  whose  works 
were  highly  prized  in  Italy  and  much  followed  by  Italian  painters 
even  before  his  death,  is  represented  by  an  Adoration  of  the  Magi 
(1141,  in  theTribuna,p.493),  a  portrait  of  his  father  (766;  p.  494), 
and  two  heads  of  Apostles  (768,  777;  p.  494).  Holbein's  portrait 
of  Richard  Southwell,  dating  from  1537  (765;  p.  493),  is  an  ad- 
mirable work.  The  Netherlands  Schools  of  the  17th  cent,  are 
also  represented  by  several  excellent  works.  Among  those  by 
Rubens  are  the  portrait  of  his  first  wife  (197,  in  the  Tribuna;  p.  492), 
his  own  portrait  (228;  p.  486),  and  two  pictures  of  scenes  from  the 
life  of  Henri  IV  (140,  147  ;  p.  495).  The  best  of  Rembrandt's  works 
preserved  here  are  the  two  portraits  of  himself  (451,  452;  p.  486). 
The  Storm,  hy  JJercules  Seghers[Qld-^  p.  493),  should  also  be  noticed. 
The  Dutch  genre-painters  (p.  493)  have  also  enriched  the  gallery 
with  several  important  and  well-preserved  works,  such  as  0.  Metsu's 
Lute-player  (918)  and  the  Huntsman  (972),  and  Jan  Stcen's  Family 
feast  (977).  Among  the  portraits  of  the  painters  (see  below)  those 
by  the  Netherlands  masters  also  occupy  a  high  rank. 

First  Lani>ing  of  the  staircase.  To  the  right.  Bust  of  Hercules 
with  an  oak-wreath.  —  Second  Landing.  To  the  right  (beside  the 
cloak-room),  two  good  portrait-heads.  —  To  the  left  are  the  — 

Four  Rooms  of  the  Painters,  with  portraits  of  masters  by  them- 
selves. After  1906  these  rooms  are  to  be  occupied  by  the  Drawings 
(p.  497)  and  the  Collection  ofPhotograplis.  We  pass  straight  through 
them  to  the  end,  to  begin  with  Room  I. 

Room  I.  Ilalian  M.-isters  (15-17tli  cent.).  Hear-wall:  282.  Sodoma  (not 
his  own  portraitVi;  291.  i'cisari;  '2SG.  Fiiippino  lippi  (in  fresco);  ''288. 
liaphael  (retouclied);  289.  Gitiliv  Romano;  2'JL'.  Leonardo  da  Vinci  (copy  <it' 
the    red   cUalk    ilmwing    at   Turin,    p.  31);   -'i'JO.   Michael  Angela   (not   by 


486   Route  64.  FLORENCE.  b.  Galleria 

himself) ;  1176.  Andrea  del  Sarlo  (replica  of  the  picture  in  the  Pitti,  No.  66, 
p.  541);  381,  384 bis.  Tiliaji.  —  378.  Jac.  Tinlorelto ;  385.  Paolo  Veronese; 
263.  Cri".  Allori:  269.  Al.  Allori.  —  397.  Lod.  Carracci;  403.  Guido  Rem;  386. 
Parmigiunino;  396.  GuerHno.  —  To  the  rij;ht,  Statue  of  Card.  Leopoldo 
de'  Medici  (1617-75),  founder  of  this  collection. 

Room  11.  German,  Dutch,  French,  Spanish,  and  other  Maslers  (15- 
18th  cent.).  434.  Albrecht  DUrer,  copy  of  the  original  (1498)  in  Madrid; 
237.  Master  of  the  Death  of  the  Virgin  (not  his  own  portrait) ;  ''23'2.  Hans 
Holbein  the  i'ounger  (completed  by  ancither  hand ;  injured) ;  436.  Oeorg  Pencz, 
Portrait  of  a  young  man  (.1544);  *223.  Van  Dyck;  233.  liuheng  (ca.  1615); 
224.  Lucas  Cranack  (1550);  "445.  Fr.  Pourbtis  the  Elder  (1.591);  433.  Els- 
heimer.  —  449.  Gerard  Don;  "462.  Sir  Anthony  More  (1558);  *451.  Rembrandt 
(as  an  old  man  ;  ca.  1665) ;  452.  Rembrandt  (ea.  1655) ;  453.  B.  van.  der  Heist. 
—  473.  Nic.  de  LargiUure;  217,  216.  Velazquez  (not  by  himself);  474.  H. 
Rigaud;  485.   Charlet  Le  lirun.  —  On  an  easel,  '228.  Rubens  (ca.  1625). 

KooM  III.  English,  German,  Italian,  and  other  Wasters  (17-l8th  cent.). 
535.  Liotard  (1744);  "540.  Reynolds;  "442.  Zofamj  (d.  1795):  471.  Angelica 
Kauffmann;  555.  Raphael  Mengs.  —  262.  Carlo  Void;  534.  Pompeo  Batoni. — 
275.  Luca  Giordano;  299.  Salvator  Rosa.  —  On  an  easel,  752.  Rumney. 

Room  IV.  Modern  Masler.s  (lyth  cent.).  518.  Overbeck;  728.  Josi  Villegas; 
722.  Alma  Tadema;  582.  Von  Gebhardt;  "Qi5.  Anders  Zom;  G05.  Kroyer :  120. 
Chr.  Bisschop;  724.  Herkomtr.  —  729.  Dom.  Morelli;  above,  573.  Canova; 
523.  Erani;.  Hayez;  708.  Giov.  Boldini.  —  "585.  Watts;  588.  Millais;  715. 
Orchardson;  600.  Leighton;  "531.  Ingres;  682.  Corot;  713.  David;  589.  Puvis 
de  Chavannes;  no  number,   Constant;  718.  Fantin-Latour. 

Topmost  Landing.  Modem  tronze  statues  of  Mars  and  Silenus 
(the  latter  a  copy  of  an  antique  original);  portrait-Leads  (to  the 
left,  Demosthenes). 

First  Vestibule  (Prima  Vestibolo).  Four  pieces  of  tapestry  and 
twelve  busts  of  members  of  the  Medici  family. 

Second  Vestibule  (Secondo  Vestibolo).  Ancient  Sculptures :  to 
the  left,  23.  Statue  of  Augustus ;  portrait-busts  of  the  Roman  im- 
perial period;  pillar  with  trophies  in  relief;  20.  Statue  of  Apollo. 
To  the  right,  21.  Statue  of  Hadrian;  portrait-busts;  pillar  with  the 
head  of  the  deity  of  a  town  ;  22.  Statue  of  Trajan.  In  the  middle, 
two  Molossiau  Dogs,  a  Horse,  and  a  *Wild  Boar.  —  The 

E.  CoRRiDOK  (Prima  Corridore),  177  yds.  in  length,  adorned 
with  charming  grotesque  paintings  (1581),  contains  antique  marble 
sculptures  besides  numerous  paintings,  which  are,  however,  to  be 
replaced  by  tapestries.    We  turn  to  the  right  from  the  entrance. 

Ancient  Scdlptukes.  In  the  middle,  38.  Hercules  slaying  Nessus 
(almost  entirely  modern);  in  the  left  corner,  admirable  Roman  portrait- 
lie;id;  by  the  window,  43.  Julius  Csesar  (?);  opposite,  39.  Sarcophagus 
with  representations  from  the  life  of  a  Roman  (from  which  Raphael  bor- 
rowed the  sacrificial  scene  for  his  tapestry  of  SS.  Paul  and  Barnabas  at 
Lystra);  to  the  right,  37.  So-called  Pompey.  On  the  left,  beyond  the 
entrance,  *48.  Marcus  Agrippa;  52.  Athlete,  copy  of  the  Doryphoros  of 
Polycletus  ;  "59.  Athlete,  after  an  Attic  original  of  the  beginning  of  the 
4th  cent,  (wrongly  restored) ;  to  the  right,  66.  Satyr  ;  to  the  left,  75.  Athlete, 
a  replica  of  the  Doryphoros  of  Polycletus;  to  the  right,  74.  Here  (head 
and  extremities  restored  in  the  early-Kenaissance  period);  76.  Julia(?), 
daughter  of  Titus;  to  the  left,  '82.  Ariadne;  to  the  right,  81.  Persephone 
(restored  as  Urania);  to  the  left,  80.  Vitellius  (modern);  85.  Vespasian; 
90.  Vestal  Virgin;  93.  Hercules  (after  Lysippus);  121.  Apollo  (head  from 
some  other  figure). 

Pictures:  8.  lor.  Monaco,  Christ  on  the  Mt.  of  Olives;  14.  School  of 
Orcagna,  John  the  Baptist  enthroned  above  Prids,    Avarice,  and  Vanity; 


degli  Vffizi. 


FLORENCE. 


64.  Route.    487 


15.  Pietro  Loremetti,  Madonna  and  angels  (1340);  16.  Lorenzetti  (_1),  Hermits 
in  the  Theban  desert;  '23.  Simone  Martini  and  Lippo  Memmi,  Triptych, 
Annunciation  with  Santa  .Tulia  and  Sant"  Ansano,  1333;  *27.  Giottino  ('!). 
Pieta;  39.  Lor.  Monaco,  Adoration  of  the  Magi;  43.  Masnccio  (here  ascribed 


,Pal  A'ecduo 


Loggia 
doi    Lanzi 


488    Route  6^.  FLORENCE.  b.  Qalleria 

to  ZanoH  Strozzi),  Giov.  Bicci  de'  Medici  (old  copy);  52.  Paolo  Uceello, 
Cavalry  batile  (injtired  :  1430) ;  63.  Cosimo  liosselK,  Coronation  of  the  Virgin 
(early  work);  69-73.  Piero  Polloino'o,  Hope,  Justice,  Tempei'ance,  Faith, 
Charity;  Luca  Signorelli,  3418.  Allegory  of  fertility,  74.  Madonna,  in  the 
background  nude  shepherds;  81.  Piero  di  Cotimo,  Conception  of  the  Virgin 
and  six  saints  ;  93.  Andrea  <iel  Sarlo,  Christ  as  a  gardener  (early  work).  [For 
the  drawings  comp.  p.  497.] 

South  Connecting  Corridor  (Secondo  Corridore),  -with  similar 
decorations  and  contents.  Fine  view  of  the  Arno,  San  Miniato,  and 
the  Ponte  Vecchio. 

Antiques:  in  the  middle,  36.  Seated  figure  of  a  Roman  lady;  to  the 
left,  13s.  Thorn-e.\ tractor  (head  restored) ;  to  the  right,  137.  Round  altar  vfilh 
bas-reliefs,  representing  the  Sacrifice  of  Ipbigeneia  (inscriptions  modern); 
142.  Youthful  Minerva;  14.5.  Venus  stooping  in  the  bath;  in  the  middle, 
35.  Figure  .'imilar  to  Xo.  36,  but  with  modern  head. 

West  Corridor  (Terzo  Corridore),  of  the  same  length  as  that  on 
theE.,  and  destined  like  it  for  tapestries.  Some  of  the  master- 
pieces of  the  colleition  are  often  brought  to  this  corridor  for  copying, 
and  placed  on  easels  along  the  window-wall. 

Antique  Scdlptukes  :  to  the  left,  156.  Statue  of  Marsyas,  in  red  marble, 
said  to  have  been  restored  by  Donatello  ;  to  the  right,  155.  Marsyas,  in 
white  marble;  162.  Nereid;  to  the  right,  169.  Discobolus,  after  Myron, 
wrongly  restored;  to  the  left,  168.  Caracalla;  204.  iEsculapi\is  (copy  of  a 
work  of  the  end  of  the  5th  cent.) ;  209.  God  of  healing,  from  a  group 
(after  an  important  work  of  the  middle  of  the  5th  cent.);  to  the  right, 
208  Bacchus  and  a  satyr  (tlic  torso  of  the  god  only  is  antique ;  the  restorations 
are  perhaps  by  Benveniito  Cellini);  to  the  left,  236.  Ceres  in  mourning  rai- 
ment; in  front,  altar  of  the  Lares  of  Augustus  (Rome).  At  the  end  of  the 
corridor,  585.  Altered  copy  of  the  Laocoon,  by  Baccio  Bandinelli.  Adjacent, 
to  the  left,  •259.  Head  ot'Zeus;  to  the  right,  260.  Head  of  a  Triton. 

We  now  return  to  the  E.  corridor.  The  side-door  immediately 
before  the  entrance  leads  to  the  temporary  (till  1906)  — 

Room  of  the  Venetian  Schools.  In  the  ante-room:  609.  Re- 
duced copy  of  Titian's  'Battle  of  Cadore',  destroyed  at  the  burning 
of  the  ducal  palace  at  Venice  in  1577.  —  In  the  main  room:  to  the 
right,  571.  Franc.  C'aroio  (v),  Knight  and  squire;  586.  Giov.  Batt. 
Moroni,  Portrait  (1563) ;  648.  Titian,  Catharina  Cornaro  (studio- 
piece);  *1111.  Mantegna,  Altar-piece  with  the  Adoration  of  the 
Magi,  the  Circumcision,  and  the  Ascension,  one  of  the  master's 
finest  and  most  carefully  executed  works;  583bis.  Vitt.  Carpaccio, 
Fragment  of  a  large  picture  of  the  Crucifixion  (?) ;  584bis.  Cima 
da  Conegliano,  Madonna;  *631.  Giov.  Bellini  (according  to  some 
critics  Marco  Basaiti),  Madonna  by  the  lake,  with  saints  (ca.  1488)  : 
in  this  highly  poetic  composition  ( 'Sacra  Conversazione')  the  painter 
appears  as  the  precursor  of  Giorgioue  ;  Giorgione,  *621.  Moses  when 
a  child  undergoes  the  ordeal  of  fire,  from  a  Rabbinic  legend  (early 
work),  630.  Judgment  of  Solomon  (studio-piece?),  *622.  Portrait 
of  a  knight  of  Malta  (retouched);  Jac.  Tintoretto,  3388.  Leda,  601. 
Portrait  of  Admiral  Venier;  592.  Seb.  del  Piombo,  Death  of  Adonis 
(of  the  master's  first  Roman  period);  575.  Lor.  Lotto,  Holy  Family 
(1534);  638.  Tintoretto,  Portrait  of  Sanso-vino  the  sculptor.  — 613. 
Paris  Bordone,   Portrait;  b89.  Paolo   Veronese,  Martyrdom  of  St. 


degli  Vffiti.  FLORENCE.  64.  Route.    489 

Justina;  614.  Titian  (more  probably  Gian  Paolo  ?),  Giovanni  dclle 
Bande  Nere  (p.  469),  painted  from  a  death-mask.  —  1308.  Matleo 
dei  Pastii'l),  Triumph  of  Religion,  of  Fame,  of  Love,  and  of  Death, 
after  Petrarch,  painted  on  the  lids  of  chests  ca.  1444;  645.  Savoldo, 
Transfiguration.  —  593.  Jac.  Bassano,  Moses  and  the  burning  bush. 

**605,  *599.  Titian,  Portraits  of  Francesco  Maria  della  Rovere 
and  Eleonora  Gonzaga,  Duke  and  Duchess  of  Urbiuo  (1537). 

These  noble  purtraila  were  executed  in  1537,  when  the  Duke  was 
appointed  Generalissimo  of  the  League  against  the  Turks.  The  Duke 
has  a  martial  bearing,  the  look  of  the  Duchess  is  stately  but  subdued. 
To  make  the  difference  apparent  between  the  blanched  complexion  of  a 
dame  accustomed  to  luxury  and  ease  and  the  tanned  face  of  a  soldier 
habitually  exposed  to  the  weather,  Titian  skilfully  varied  the  details  of 
technical  execution.  Here  he  is  minute  and  finished,  there  resolute  and 
broad.  Here  the  tinted  and  throbbing  flesh  is  pitted  against  a  warm  light 
ground,  there  the  sallow  olive  against  a  dark  wall.  —  C.  d-  C. 

595.  Jacopo  Bassano ,  Family-concert,  with  portraits  of  the 
painter  himself  and  of  his  sons  Francesco  and  Leandro.  —  On 
easels:  *633.  Titian,  Holy  Family  with  St.  Anthony  (early  work); 
629.  0.  B.  Moroni,  Portrait  of  a  scholar. 

On  an  easel:  **6'26.  Titian,  The  so-called  'Flora',  painted 
probably  before  1520,  and  still  in  Giorgione's  manner. 

There  is  nothing  in  this  ethereal  Flora  to  shock  the  sensitive  eye. 
The  proportions  and  features  are  of  surprising  loveliness,  reminding  us 
in  their  purity  of  some  of  the  choicest  antiques.  The  masterly  and  clear 
light  scale  is  attained  by  the  thin  disposal  of  pigments,  the  broad  plane 
of  tinting,  and  the  delicate  shade  of  all  but   imperceptible  half-tones.  — 

C.  d-  C. 

From  this  room,  or  by  the  next  door  in  the  corridor,  wc  enter 
the  — 

New  Rooms  of  thk  Tuscan  School.  Room  IV  principally  con- 
tains pictures  from  the  Spedale  Santa  Maria  Nuova  (p.  483).  To 
the  left,  no  number,  Franc.  Granacci,  Madonna  with  SS.  Francis 
and  Zeiiobius;  63.  Giov.  Ant.  Sogliani,  Assumption.  —  *12.  Andrea 
del  Castagno,  Crui'iflxion,  from  Santa  Maria  degli  Angioli  (early 
work).  —  71.  Fra  Barlolonieo  und  Alberlinelli,  Fresco  of  the  Last 
Judgment,  an  early  work,  1498-99  (damaged  ;  the  adjoining  copy 
shows  the  details).  —  60.  AlesHo  Baldovinelti,  Madonna  and  saints. 
—  1558.  Fiorenzo  di  Lorenzo,  Triptych.  —  Adjoining  's  the  — 

Sala  ui  Lorenzo  Monaco.  To  the  right,  1551.  Giovanni  di  Paolo, 
Madonna  and  saints;  1304.  Neroccio  Lundi  and  Franc,  di  Giorgio 
Martini,  Predella  with  scenes  from  the  life  of  St.  Benedict.  — *1544. 
Bart.  Cajjorali,  Madonna  with  adoring  angels;  1309.  Lor.  Monaco, 
Coronation  of  the  Virgin  (1413);  64.  Fra  Angelico  (">) ,  Madonna 
enthroned,  with  angels.  —  Opposite,  1310.  Gentile  dn  Fabriano, 
SS.  Mary  Magdalen,  Nicholas,  John,  and  George  (1425);  Fra 
Angelico,  17.  Triptych  with  a  gold  ground.  Madonna  between  two 
saints,  surrounded  by  twelve  *Aiigels  with  miisi'-al  instruments, 
of  surpassing  charm  (1433),  *1294  Predella  with  St.  Peter  preach- 
ing, Adoration  of  the  Magi,  and  Martyrdom  of  St.  Mark.  —  On  an 


490   Route  64.  FLORENCE.  b.  Oalleria 

easel,  *1290.  Fra  Angelica,  Corouation  of  the  Virgin.  —  To  the 
left  is  the  — 

Sala.  BELLA  Nascita  di  Venere.  To  the  right,  1301.  Piero 
PoUaiuolo,  SS.  Eustace,  James,  and  Vincent  (1470);  *1295.  Dom. 
Ghirlandaio ,  Adoration  of  the  Magi  (1487).  —  *39.  Sandra  Batti- 
celli ,  Birth  of  Venus.  —  1297.  Dom.  Ghirlandaio,  Madonna  and 
saints;  *1286.  Botticelli ,  Adoration  of  the  Magi,  with  portraits  of 
Cosimo  de'  Medici,  his  son  Giovanni,  and  his  grandson  Giuliano 
(before  1478);  1305.  Dom.  Veneziano,  Madonna  and  saints  (in- 
jured). —  1547.  Luca  Signorelli  and  Pielro  Perugino,  Crucifixion 
Mith  SS.  Jerome,  Francis,  John  the  Baptist,  Mary  Magdalen,  and 
Giovanni  Colombini,  from  the  church  of  the  Calza  in  Florence.  —  On 
an  easel,  23.  Amico  di  Sandra,  Holy  Family  with  angels.  —  We 
return  to  the  corridor  and  pass  through  the  next  door  into  the  three  — 

Olu  Rooms  of  the  Tuscan  ScnooL.  Room  III.  To  the  left, 
*1252.  Lennardo  da  Vinci,  Adoration  of  the  Magi,  an  early  work, 
probably  begun  in  1481  for  the  monks  of  San  Donato  at  Scopeto, 
but  never  finished;  above,  Pontormo,  1267.  Portrait  of  Cosimo  the 
Elder»  after  a  15th  cent,  painting,  1270.  Duke  Cosimo  I.  de'  Me- 
dici ;  *1265.  Fra  Bartolomeo,  Madonna  and  St.  Anna  praying  to  the 
Trinity,  with  the  tutelary  saints  of  Florence  (this  picture,  painted 
for  the  council-hall  of  the  republic,  was  unfinished  at  the  artist's 
death  in  1517).  —  *1112.  A.  delSarto,  Madonna  with  SS.  John 
and  Francis  (1517;  named  the  Harpy  Madonna  from  the  figures  on 
the  pedestal);  Filippino  Lippi,  1268.  Madonna  enthroned  with 
four  saints  (1485),  1257.  Adoration  of  the  Magi,  with  portrait  of 
Piero  Francesco  de'  Medici  (as  the  astronomer  on  the  left;  1496).  — 
1280bis.  Cosimo  Rosselli,  Madonna  with  SS.  Peter  and  James;  3436. 
Botticelli,  ,  Adoration  of  the  Magi ,  a  late  work  (executed  in  gri- 
saille; coloured  in  the  17th  cent.);  *1266  Ang.  Bronzino,  Sculp- 
tor. —  *1259.  Mitriotto  Albertinelli ,  Visitation,  with  predella: 
Annunciation,  Adoration  of  the  Child,  and  Presentation  in  the 
Temple  (1503);  adjacent,  Ridolfo  Ghirlandai.o,  1275.  St.  Zenobius 
resuscitating  a  dead  child,  1277.  Transference  of  the  remains  of 
St.  Zenobius  to  the  cathedral;  1254.  Andrea  del  Sarto,  St.  James 
and  two  children  in  cowls  of  the  brotherhood  of  St.  James  (in- 
jured). —  On  an  easel,  3452.  Lor.  di  Credi,  Venus.  —  Beyond  is  — 

Room  II.  To  the  left,  1296.  Bacckiaeca,  Predella  with  scenes 
from  the  life  of  St.  Acasius;  *1288.  Leonardo  da  Vi7ici(^^'),  Annun- 
ciation, perhaps  an  early  work  executed  about  1472  in  Verrocchio's 
studio ;  1298.  Luca  Signorelli ,  Predella,  with  the  Annunciation, 
Nativity,  and  Adoration  of  the  Magi. 

*1300.  Piero  delta  Francesca,  Portraits  of  Federigo  da  Monte- 
feltro,  Duke  of  Urbino ;  and  his  Duchess,  Battista  S  forza  (on  the  back 
charming  allegorical  triumphal  processions  of  the  princely  pair). 

'Neither  (of  the  portraits)  are  agreeable  t.vpes,  hut  nothing  can  exceed 
the  Leonardesqne  precision  of  the  drawing  or  the  softness  and  fusion  of 
the  impasto'.  —  C.  <i:  C. 


degli  Vffizi.  FLORENCE.  64.  Route.  491 

Opposite,  Sandro  BoUicelli,  1299.  Strength,  *1267bis.  Round 
picture,  the  so-called  Magnificat,  Madnnna  -with  angels,  the  heads 
of  great  charm,  1316.  Annunciation  (school-piece),  1289.  Madonna 
■with  angels;  1306.  Piero  Pollaiuolo,  Prudence.  —  1291.  Luca  Slg- 
norelli,  Holy  Family,  a  fine  example  of  the  'grave,  unadorned,  and 
manly  style  of  this  painter,  showing  in  the  most  admirable  manner 
his  Leonardo-like  mastery  of  chiaraoscuro' ;  *1307.  Fra  Filifpo 
Lippi,  Madonna  with  angels  (late  work);  Lor.  di  Credi.  1160.  An- 
nunciation, 1287.  Holy  Family.  —  On  an  easel,  *1279.  Sodoma, 
St.  Sebastian,  on  the  reverse  a  Madonna  in  clouds  with  SS.  Rochus 
and  Sigismund  (the  picture  was  originally  the  banner  of  the  Sienese 
brotherhood  of  St.  Sebastian).  —  We  retrace  our  steps  and  turn  to 
the  left  out  of  Room  III  into  — 

Room  I.  To  the  left,  Fra  Angelica,  *1162.  Birth  of  John  the 
Baptist,  1178.  Sposalizio,  1184.  Death  of  the  Virgin  ;  among  these, 
*1153.  A7it.  Pollaiuolo,  Contests  of  Hercules  with  Antaeus  and  the 
Lernean  hydra,  with  a  beautiful  landscape;  *1182.  Sandro  Botti- 
celli, Calumny,  from  the  description  by  Lucian  of  a  picture  of 
Apelles;  30.  Piero  Pollaiuolo,  Galeazzo  Maria  Sforza(p.  127;  much 
damaged);  Lor.  di  Credi,  34.  Portrait,  1163.  Portrait  of  his  master 
Andrea  Verrocchio.  — Opposite,  S.  BottictUi,iic8.  Death  of  Holo- 
fernes,  1156.  Judith;  1167.  Fdippino  Lippi,  Portrait  (fresco);  *1217. 
Pietro  Perugino,  Portrait;  HQl.  Fra  Bartolomeo,  Adoration  of  the 
Child  and  Presentation  in  the  Temple,  on  the  reverse  the  Annun- 
ciation in  grisaille;  1179.  S.  Botticelli,  St.  Augustine;  1154.  Botii- 
celli(^!),  Portrait  of  a  medallist;  above,  ii66.  Ang.  Bronzino,  Don 
Garzia  de'  Medici,  son  of  Cosimo  I. ;  1175.  Santi  di  Tito,  Portrait; 
1148.  Pontormo  ('?),  Leda.  —  1312.  Piero  di  Cosimo,  Perseus  deliv- 
ering Andromeda  (showing  Leon,  da  Vinci's  influence).  —  1198. 
Pontormo,  Birth  of  John  the  Baptist. 

The  following  door  admits  to  the  octagonal  — 

**TRrBUNA,  containing  a  magnificent  collection  of  masterpieces 
of  ancient  sculpture  and  modern  painting.  The  hall  was  constructed 
by  Bernardo  Buontalenti ;  the  decorations  are  by  Bernardino  Poccetti. 
In  the  centre  are  placed  five  celebrated  marble  sculptures :  *Satyr 
playing  on  the  cymbal  and  pressing  the  scabellum  or  krupezion  with 
his  foot ;  the  admirable  head  and  the  arms  were  restored  by  Michael 
Angelo  (?~).  *Group  of  the  Wrestlers;  the  heads,  which  resemble 
those  of  the  Children  of  Niobe,  do  not  belong  to  the  figures,  and 
the  greater  part  of  the  legs  and  arms  is  modern  ;  the  right  arm  of 
the  victor  is  erroneously  restored.  *Medici  Venus ,  found  at  Rome 
in  the  16th  cent.,  and  brought  to  Florence  in  1680;  the  affectedly 
held  fingers  and  the  inscription  on  the  base  are  modern.  The 
*Grinder,  a  Scythian  whetting  his  knife  to  flay  Marsyas,  found  at 
Rome  in  the  16th  cent,  (from  the  same  group  as  the  Marsyas, 
No.  156,  mentioned  on  p.  488).  The  ^ApoUino,  or  young  Apollo 
(freely  restored). 


492   Route  64.  FLORENCE.  b.  Oalleria 

Paintings.  To  the  right  of  the  main  entrance :  **1129.  Raphael, 
Madonna  and  Child  with  the  goldfinch  ('cardellino'),  painted  in 
Florence  about  1507,  pieced  together  again  after  a  fire  in  1548. 

The  'Madonna  del  Cardellino'',  the  'Madonna  al  Verde'  at  Vienna, 
and  'La  belle  Jardiniere'  in  the  Louvre  form  a  group  nearly  allied  in 
point  of  conception.  To  the  earlier  and  simpler  representations  of  the 
Madonna,  in  which  Mary  and  her  Son  alone  appear,  the  child  John  the 
IJaptist  has  been  added.  This  not  only  admits  of  the  delineation  of  ad- 
ditional features  of  child-life,  but  also  makes  possible  the  construction 
of  a  regularly-arranged  group.  The  two  children,  standing  at  the  feet  of 
the  Madonna,  form  a  broad  base  for  the  composition ,  which  tapers  up- 
wards easily  and  naturally  to  the  head  of  the  Virgin.  This  arrangement 
first  found  expressicjn  within  the  realms  of  sculpture,  whence  it  was 
eagerly  adopted  by  the  Florentine  painters.  —  Springer. 

1127.  Raphael,  The  young  St.  John  (executed  by  pupils)  ;  1125. 
Franciabigio,  Madonna  del  Pozzo,  so  called  from  the  well  in  the 
background;  above,  Fra  Bartolomeo,  1130.  Job,  1126.  Isaiah; 
*1123.  Sebastiano  del  Piombo,  Portrait,  formerly  erroneously  called 
theFornarinafcomp.p.  539),  dated  1512;  *1120.  Raphael  (?),  Por- 
trait, formerly  called  MaddalenaDoni,  retouched;  *197.  Rubens,  Isa- 
bella Brandt,  his  first  -wife;  1124.  Fran.  Francia,  Giov.  Evangelista 
Scappi  (retouched);  *287.  Perugino,  Francesco  delle  Opere  (1494). 

*1117.  Titian,  Venus  of  Urbino  (probably  the  Duchess  Elco- 
nora;  p.  489),  painted  for  Francesco  della  Rovere,  Duke  of  Urhiuo, 
about  1537. 

'Not  after  the  model  of  a  Phryne,  nor  yet  with  the  thought  of  real- 
izing anything  more  sublime  than  woman  in  her  fairest  aspect,  did 
Titian  conceive  this  picture.  Kature  as  he  presents  it  here  is  young  and 
lovely,  not  transfigured  into  ineffable  noblesse,  but  conscious  and  trium- 
phant without  loss  of  modesty'.  —  C.  d:  C. 

3458.  Seb.  del  Piombo  (?),  Portrait  of  a  nobleman  ('ruomo  am- 
malato'),  1514  (damaged);  *159.  Ang.  Bronzino,  Portrait  of  Bart. 
Panciatichi. 

**1139.  Michael  Angelo,  Holy  Family,  an  early  work,  painted  on 
the  commission  of  Angelo  Doni,  the  only  easel-work  of  the  master 
in  Italy,  painted  in  tempera  between  1501  and  1505. 

The  Madonna,  a  larse-l'ramed  v.oman.  kneels  on  the  ground  and  leans 
to  one  side,  as  she  hands  the  Infant  over  her  shoulder  to  her  husband, 
who  stands  behind  and  finishes  off  the  group,  lu  the  hollow  way  of 
the  middle  distance  walks  the  sturdy  little  John  the  Baptist,  who  looks 
merrily  back  at  the  domestic  scene.  Naked  flgurep,  which  have  no  ap- 
parent" connection  with  the  subject  of  the  picture,  enliven  the  background, 
in  obedience  to  the  custom  of  the  15th  cent.,  when  the  artist  was  ex- 
pected to  show  his  skill  in  perspective  or  his  mastery  of  the  nude  on  every 
opportunity.  —  Springer. 

1122.  Perugino,  Madonna,withJohntheBaptistandSt, Sebastian 
(1493)  ;  1115.  Van  Dyck,  Jean  de  Montfort. 

**1131.  iiap^taei,  Pope  Julius  II.,  the  original  (painted  about 
1512). 

'This  striking  figure,  with  the  arms  resting  lightly  on  the  chair,  the 
deep-set  eyes  directed  with  keen  scrutiny  on  the  beholder,  the  compressed 
lips,  the  large  nose,  and  the  long  white  beard  descending  to  the  breast, 
vividly  recalls  the  descriptions  of  this  powerful  pope,  left  us  by  his 
contemporaries.'  —  Springer. 


degli  Uffizi.  FLORENCE.  64.  Route.    493 

*154.  Ang.  Bronzino,  Luciezia  dei  Puoci,  \vife  of  Bart.  Pancia- 
tichi ;  *1109.  Domenichino,  Portrait  of  Cardinal  Agucchia;  above, 
1108.  Titian,  Venus  and  Cupid;  1104.  Spagnoletto,  St.  Jerome.  — 
*1116.  Titian,  Portrait  of  Beccadelli,  papal  nuncio  in  Venice  (1562). 

'A  magnificent  likeness,  in  which  the  true  grain  of  what  may  be  called 
Churchman's  flesh  is  reproduced  in  a  form  both  clear  and  fair  but  with  the 
slight  tendency  to  droop  which  is  characteristic  in  priests'.  —  C.  <t  C. 

*1141.  A.  Diirer,  Adoration  of  the  Magi  (1504),  one  of  the  first 
important  easel-paintings  by  this  master ,  carefully  and  minutely 
finished,  and  in  good  preservation. 

Both  the  atrial  and  the  linear  perspective  are  faulty,  but  the  tech- 
nical handling  is  as  perfect  as  in  Diirer's  latest  and  finest  works.  The 
treatment  and  the  colouring  are  both  in  the  characteristic  style  of  the 
northern  school  of  painting.  The  colours  are  fluent  but  sharply  defined, 
laid  on  at  first  a  tempera  and  then  glazed  with  oil-pigments.  The  tone 
is  extraordinai'ily  lively  and  clear.  —  This  gem  of  German  art  was  form- 
erly in  the  imperial  gallery  at  Vienna,  whence  it  came  to  Florence  by 
exchange  in  the  18th  century.  —  Thausing's  '■DUrer". 

Correggio,  *1118.  Rest  on  the  Flight  into  Egypt,  an  early  work 
of  the  master's  Ferrara  period,  *1134.  Madonna  worshipping  the 
Child,  with  a  beautiful  landscape  background;  above,  L.  Cranach, 
1142.  Adam,  1138.  Eve;  1128.  Van  Dyck,  Equestrian  portrait  of 
Charles  v.;  1136.  P.  Veronese,  Holy  Family,  with  St.  Catharine. 

Room  of  Various  Italian  Masters  ('Maestri  diversi  Italiani'). 
On  the  left :  *1559.  Lor.  Costa,  St.  Sebastian ;  1057.  Fr.  Albani, 
Rape  of  Europa;  Lad.  Mazzolino,  1030.  Nativity,  995.  Massacre  of 
the  Innocents,  1032.  Holy  Family;  1149.  AUori,  Mary  Magdalen; 
1121.  Paolo  Veronese,  St.  Agnes  kneeling,  with  two  angels  (sketch); 
above,  1031.  Caravaggio,  Medusa;  *J557.  Cosimo  Tura,  St.  Dominic. 
—  1064.  Canaletto  (Ant.  Canale),  Palace  of  the  Doges  at  Venice ; 
*1025.  Mantegna,  Madonna  in  a  rocky  landscape,  the  background  of 
delicate  execution  (ca.  1489);  3417.  Bcltraffio,  Youth  crowned  with 
laurel,  in  a  rocky  landscape  by  night;  1006.  Parmigianino,  Holy  Fa- 
mily; *1002.  Correggio  (youthful  work  of  his  Ferrara  period).  Madonna 
and  Child,  with  angelic  musicians;  1044.  Fr.  Albani,  Dancing  genii. 

Dutch  School.  On  the  right,  926.  Gerard  Dou,  Pancake-seller; 
922.  Copy  of  Rembrandt's  Holy  Family  (the  famous  'Carpenter's 
Family'  in  the  Louvre).  —  895.  South  German  School  (not  Lucas  van 
Leyden),  Ferdinand  I.  (1524);  957,949.  Netscher,  Sacrifice  to  Venus; 
between  them,  *979.  Hercules  Seghers  (not  Rembrandt),  Thunder- 
storm; *958.  Gerard  Terburg,  Lady  drinking;  961.  Rachel  Ruysch, 
Flowers.  —  *977.  Jan  Sleen.  Family  feast ;  854.  Frana  van  Mieris, 
The  charlatan.  —  877,  900.  Com.  van  Poelenburg,  Landscapes; 
882.  Jacob  van  Ruysdael,  Landscape  with  cloudy  sky  ;  *972.  Metsu, 
Lady  and  huntsman.  —  *918.  Metsu,  Lute-player.  In  the  middle, 
on  an  easel :  3449.  J.  van  Huysum,  Flowers. 

Flemish  and  German  Schools.  I.  Saloon.  To  the  left,  788. 
Amberger,  Portrait  of  C.  Gross;  *765.  Hans  Holbein  the  Younger, 
Richard  Southwell  (1536),  with  an  expression  blended  of  stolidity 


494   Route  64.  FLORENCE.  b.    Gnlleria 

and  slyness;  Rubens,  812.  Venus  and  Adonis,  the  landscape  hy  J. 
Brueghel  fstudio-pLece),  842.  The  Granes  (sketrth).  —  Opposite, 
Biirer,  861.  Madonna  (studio-piece),  768.  The  Apostle  Philip,  and 
777  (farther  on),  St.  James  the  Great. 

'Both  pictures  were  painted  in  water-colours  upon  linen  in  1516.  The 
heads  are  of  strongly  marked  individuality,  yet  it  is  at  the  same  time 
evident  that  they  are  not  merely  studies  from  life,  but  that  a  due  regard 
has  been  paid  to  the  characters  to  be  represented'.  —   Tliausing''t  ^Diirer''. 

774.  Claude  Lorrain,  Seashore,  with  a  villa  copied  in  parts  from 
the  Villa  Medici  at  Rome;  *766.  Dilrer,  Portrait  of  his  father,  painted 
in  the  artist's  19th  year  (1490;  the  clever  face  and  hands  are  wonder- 
fully lifelike).  —  793.  Elsheimer^  Landscape,  with  the  triumph  of 
Psyche. 

II.  Saloon,  above,  a  series  of  good  pictures  from  the  lives  of 
SS.  Peter  and  Paul,  by  Hans  von  Kulmbach,  a  pupil  of  Diirer. 
To  the  right  of  the  entrance,  730.  Herri  de  Bles  (Civetta),  Mine.  — 
744.  Nic.  Frumenti  (the  German  Meister  Korn),  Triptych  with  the 
Raising  of  Lazarus  (1461) ;  on  the  exterior,  Mary  as  Queen  of  Heaven 
and  a  fine  portrait  of  the  donor.  —  758.  Elsheimer,  Landscape,  with 
shepherd  playing  on  the  Pan's  pipes;  706.  Tenters  the  Founder  (?), 
St.  Peter  weeping. 

French  School.  To  the  right,  684.  Rigaud,  Portrait  of  Bcssuet; 
Q7i.  Lo.rgiUiere,  Jean  Baptiste  Rousseau;  679,  689,  Fabre,  Portraits 
of  the  poet  Vittorio  Alfleri  and  the  Countess  of  Albany  (1794),  with 
two  autographs  by  Alfleri  on  the  back;  680.  Nic.  Poussin,  Theseus 
at  Troezen.  —  695.  Phil,  de  Champaigne,  Portrait;  651,  652,  654. 
Bourguignon,  Cavalry  engagt^ments.  —  Opposite :  *667.  Jehan  Clouet, 
Francis  1.  on  horseback;  668.  Gaspard  Poussin,  Landscape;  *671. 
Lancret  (not  Walteau),  The  flute-player  (garden-scene).  —  Then 
to  the  left  at  the  end  of  the  S.  corridor  is  the  — 

Cabinet  of  the  Gems  (closed  on  Sun.),  containing  goldsmiths' 
work  of  Florentine  origin  and  carved  gems,  once  the  property  of  the 
Medici. 

The  1st,  3rd,  4th,  and  6th  cabinets  each  contain  two  small  columns 
of  Sienese  agate  and  rock  crystal.  In  the  1st  cabinet:  two  reliefs  in  gold 
on  a  ground  of  jasper,  ascribed  to  Giov.  da  Bologna  (more  probably  by  the 
goldsmith  J/icAeZe  Mazzafirri1)\  vase  of  rock-crystal,  ascribed  to  Benvenuio 
CeVini;  f^oblet  of  onyx,  with  the  name  of  Lorenzo  ilMagnifico;  large  vase 
of  lapis  lazuli.  —  2nd  Cab. :  Crystal  vase,  witli  cover  in  enamelled  gold, 
executed  for  Diana  of  Poitiers,  with  her  ciphers  and  half-moons;  relief 
of  Grand-Duke  Cosimo  11.  kneeling  before  an  altar,  in  Florentine  mosaic 
(1619).  —  4th  Cab.:  below,  to  the  right,  "Venus  and  Cupid,  in  porphyry, 
by  Pietro  Maria  Serbaldi  of  Pescia.  —  5th  Cab. :  Fantastic  vase  in  jasper, 
with  a  Hercules  in  massive  gold  upon  it,  by  Mazzafirri;  small  vase  of 
emerald;  bas-relief  in  gold  and  jewels,  representing  the  Piazza  della 
Signoria,  by  Gasparo  Mala;  vessel  in  lapis  lazuli.  —  6ih  Cab.:  Two  reliefs 
in  gold  on  a  ground  of  jasper,  like  those  in  Cab.  1 ;  head  of  Tiberius  in  tur- 
quoise. —  In  the  centre:  *Casket  of  rock-crystal  with  24  scenes  from  the 
life  of  Christ,  executed  by  Valerio  Belli  of  Victn/a  in  1532  for  Pope  Cle- 
ment VII.  —  The  Mnest  carved  gems  are  exhibited  in  the  de?k  ease  in  front: 
*3200.  Portrait  of  Savonarola;  1083.  Co^mo  de'  Bledici  the  Elder;  489.  Lo- 
renzo il  Magnifico;  5U0.  Leo  X.;  502.  Clement  VII.;  497.  Bianca  Cappello 
(p.  536). 


degli  Vffiti.  FLORENCE.  6J.  Route.    495 

In  the  W.  Corridor,  the  first  door  on  the  left  leads  to  the  rooms 
of  the  Venetian  School,  closed  in  1905-()  (coinp.  p.  488], 

The  following  door  on  the  left  leads  to  the  Cabinet  of  Engrav- 
ings AND  Drawings  (Curator,  Sig.  Nerino  Ferri). 

The  Passage  to  the  Pitti  Palace  is  closed  on  Sun.  and  festivals,  except 
the  lirt  se  tion  with  the  en^ravin^s,  to  which  hurried  travellers  are  re- 
commended to  conlinc  their  attention.  —  Sticks  and  umbralliis  left  at  the 
entrance  to  the  Ufizi  Palace  ;a-e  conveyed  (on  week-days)  to  the  exit  of  the 
Pitti  Gallery  (or  vice  versa)  for  a  fee  of  25  c,  for  which  a  receipt  is  given. 

A  staircase  descends  to  a  long  Corridor,  built  liy  Vasari  in  1564  for 
the  marriage  of  Prince  Francesco  de'  Medici  (p.  473),  which  leads  over 
the  Ponte  Vecchio  to  the  Palazzo  Pitti,  a  walk  of  nearly  10  minutes.  The 
Staircase  contains  Italian  and  other  Woododts,  beyond  which  is  a  col- 
lection of  Engravings  of  the  Italian  school  before  Marc  Antonio  (in- 
cluding specimens  of  Mantegna,  in  frames  50,  52,  54,  56,  at  th-  first  corner). 
—  In  the  first  section  of  the  corridor,  on  the  left,  are  Italian  engravings 
from  the  time  of  Mare  Antonio  (frames  75-96;  some  after  Raphael)  to  the 
middle  of  the  ISth  cent.;  on  the  right,  in  reverse  order,  are  engravings 
(if  foreijin  schools  down  to  the  present  day  (Rembrandt  and  his  school,  in 
frames  2S1-307).  —  At  the  beginning  of  the  second  section  (above  the 
Ponte  Vecchio  1,  to  the  right:  Liica  Giordano,  'Triumph  of  Galatea.  Far- 
ther on,  beyond  the  ticket-office  tor  the  Pal.  Pitti,  is  a  large  collection 
of  portraits  of  the  Medici,  etc.  —  Third  section,  beyond  the  door,  on  the 
left  bank  of  the  Arno:  views  of  Italian  towns  (17th  cent.).  Lastly,  to  the 
left,  portraits  of  popes  and  cardinals;  to  the  right,  celebrated  natives  of 
Portugal,  etc.  —  We  now  ascend  two  (lights  of  steps,  pass  through  a  narrow 
passage  (be)ow,  to  the  left,  the  Boboli  Garden),  iiscend  four  other  short 
flights  of  steps,  and  fiaally  reach  the  copyiag  room  and  the  entrance  of 
the  Pitti  Palace  (p.  5if)). 

The  following  door  in  the  W.  Corridor  admits  to  the  — 
Sala  1)1  Van  der  Goes,  containing  paintings  of  the  Early  Nether- 
landish Schools  (15-16th  cent.).  To  the  right :  769,  778.  Hans  Mem- 
liny,  Benedetto  Portinari  and  his  patron-saint  St.  Benedict  (1487); 
between  these ,  795.  Rogier  van  der  Weijden ,  Entombment.  — 
**i52r),  Hugo  van  der  Goes,  Adoration  of  the  Child,  with  shepherds 
(admirable  popular  types)  and  angt'ls ;  on  the  wings,  the  family  of 
the  donor,  Tommaso  Portinari,  agent  of  the  Medici  in  Bruges,  and 
their  patron  saints,  SS.  Thomas  and  Anthony  the  Hermit,  Margaret 
and  Mary  Magdalen.  —  846.  Oerard  David  (not  Suavio  Lamberto), 
Descent  from  the  Cross;  bOlbis  Style  of  Memliny,  Portrait;  906. 
Dutch  School  (Geertyen  tot  St.  Jans?),  Crucifixion ;  708.  Gerard  David, 
Adoration  of  the  Magi.  —  749.  Petrus  Cristus('!),  Double  portrait 
(within,  the  Annunciation  in  grisaille);  *70B.  Mending,  Madonna 
with  angels,  replica  of  the  original  now  at  Vienna;  761.  A.  Dilrer, 
Crucifixion,  a  green  drawing  relieved  with  white  (1505),  with  a  copy 
in  colours  by  J.  Brueghel  (1604);  76'2.  Joos  van  Cleve(?),  Virgin  at 
prayer;  *237.  Master  of  the  Death  of  the  Virgin  (not  Quinlen  Matsys), 
Double  portrait  (1520).  —  698.  Herri  met  de  Bles,  Madonna  en- 
throned (early  work). 

The  Sala  di  Rubens  contains  two  huge  paintings  (much  re- 
stored) by  Rubens :  to  the  left,  *140.  Henri  IV  at  the  battle  of  Ivry ; 
to  the  right,  **iil.  Entry  of  Henri  IV  into  Paris,  Both  of  these  are 
unfinished,   and  were  painted  for  Queen  Maria  de'  Medici  in  1627, 


496   Route  64.  FLORENCE.  6.  Oalleria 

for  an  (unexecuted)  series  of  scenes  from  Henri  IV's  life,  intended 
as  companion -pieces  to  the  paintings  of  the  Luxembourg  Palace 
(now  in  the  Louvre).  —  On  the  back-wall,  210.  Madrid  School^ 
Equestrian  portrait  of  Philip  IV,  (copy  of  a  lost  picture  by  Rubens 
of  1623);  1523.  Copy  of  Van  Dyck,  Lords  John  and  Bernard  Stuart 
(original  in  England].  —  On  easels,  1536.  Flemish  School  (Van 
Dyck?),  Portrait;  238.  Jac.  Jordaens,  Portrait. 

Cabinet  of  Inscbiptions  (Sala  delle  Iscrizioni).  The  walls  are 
covered  vyith  a  number  of  ancient  Greek  and  Latin  inscriptions, 
most  of  them  from  Rome 

The  inscriptiona  are  arranged  in  twelve  classes  according  to  their 
subjects  (the  gods  and  their  priests,  the  Csesars,  the  consuls,  dramas, 
military  events,  private  affairs,  etc.). 

There  are  also  some  Scclptures  (nearly  all  misnamed):  in  the  middle, 
262.  Bacchus  and  a  satyr;  to  the  left,  263.  Mercury;  to  the  right,  266. 
so-called  Venus  Urania;  by  the  door,  265.  Venus  Genetrix;  264.  Draped 
female  figure;  305.  Chrysippus;  302.  Cicero  (?);  301.  Greek  portrait-statue; 
300.  Demosthenes ;  299.  Mark  Antony  (?) ;  in  front,  good  Roman  portrait- 
statue,  described  as  Cicero ;  295,  296.  Greek  heads  of  Gods ;  294.  Greek  work 
(not  Socrates);  293.  Modern.  —  Let  into  the  wall:  relief  of  a  vranderer ; 
above,  'Fragment  of  a  Greek  viitive  relief  with  a  biga,  of  the  time  of 
Phidias  ;  2S7.  Sophocles ;  282.  Roman  relief  of  a  warrior.  —  280-C78.  Portraits 
(names  wrong);  274.  Scipio(V);  377.  Corbulo;  348.  Bust  of  a  barbarian,  in 
black  marble;  270.  Marius  (?);  269.  Jupiter  Ammon. 

Cabinet  of  the  Heemaphbodite.  By  the  walls:  319.  Roman 
portrait;  in  front,  307.  Torso  of  an  excellent  copy  of  the  Doryphoros 
of  Polycletns  (in  basalt);  *347.  Hermes  of  a  Hellenistic  poet;  316. 
Antinous;  312.  Alexandrian  portrait;  314.  Hera;  *315.  Torso  of 
a  satyr ;  *318.  The  celebrated  'Dying  Alexander',  really  a  giant's 
head,  these  two  of  the  Pergamenian  school;  321.  Roman  portrait. 
—  Let  into  the  wall :  14.  Roman  sacrifice ;  15.  Two  fragments  of 
an  ornamental  pillar;  12,  11.  Reliefs  of  a  Roman  procession,  be- 
longing, like  Nos.  8-10  and  13  (see  below),  to  the  Ara  Pacis, 
erected  by  Augustus  at  Rome  in  B.C.  13-9;  328.  Mask  of  Jupiter 
Ammon;  336.  Maenads;  329.  Roman  sacrifice  (a  work  of  the  16th 
cent.);  327.  Relief  with  three  women;  10.  Relief  representing  Earth, 
Air  (1.),  and  Water  (r.);  331.  Relief  of  Msnads  with  a  bull;  9,  8. 
Roman  procession;  13.  Ornamental  plaque.  —  In  the  centre,  306. 
Hermaphrodite. 

Saloon  OF  Baboccio.  Five  tables  of  Florentine  mosaic.  That 
by  the  entrance-wall,  to  the  right,  has  a  view  of  the  old  harbour  of 
Leghorn.  Paintings  of  various  schools:  to  the  right,  1144.  Oiulio 
Romano,  Madonna;  1114.  Ouercino,  Samian  Sibyl;  211.  Andr. 
Salaino  (?),  Madonna  with  St.  Anna  (copy  of  Leonardo  da  Vinci's 
Madonna  and  Child  with  St.  Anna  in  the  Louvre);  213.  Oiuliano 
Bugiardini,  Madonna;  163.  Sustermans,  Galileo;  *1520.  O.  B. 
Tiepolo  (?),  Portrait  of  a  page;  169.  Bnroccio,  The  Virgin  inter- 
ceding with  the  Saviour,  below  are  the  members  of  a  charitable 
fraternity  (Madonna  del  Popolo,  1579).  —  180.  Cornells  de  Vos 
(not  Rubens),  Portrait;  190.   0,  van  Honthorst,  Adoration  of  the 


degli  Vffizi.  FLORENCE.  64.  Route.    497 

Shepherds;  196.  Van  Dj/cfc  (?),  Margaret  of  Lorraine.  —  *188. 
Andrea  del  Sarto,  Portrait;  G.  B.  Tkpolo,  *1521.  Erection  of  a 
statue  to  an  emperor  (ceiling-painting),  1522.  Two  'putti'  (frag- 
ment); 1119.  Fed.  Baroccio,  Francesco  Maria  II.,  Duke  of  Urbino; 
167.  Ang.  Bronzino,  Lady  in  mourning.  —  220.  Frans  Snyders, 
Boar-hunt. 

Saloon  of  Niobe,  constructed  in  1775,  and  so  named  from 
the  twelve  Roman  copies  of  statues  from  the  far-famed  ancient 
group  of  Niobe  with  her  seven  sons  and  seven  daughters  and  their 
pedagogue,  who  were  slain  by  Apollo  and  Diana.  In  antiquity  it 
was  a  disputed  point  whether  Scopas  or  Praxiteles  (4th  cent.  B.C.) 
designed  the  group ;  but  modern  researi;h  has  pretty  well  decided 
the  contest  in  favour  of  the  former.  The  group  was  brought  as  spoils 
of  war  from  Asia  Minor  and  erected  in  a  temple  of  Apollo  at  Rome. 

Eigbt  of  (he  statues  were  found  at  Rome  outside  tlie  Porta  San  Giovanni 
in  1583  and  placed  by  Cardinal  Ferdinand  de'  Medici  in  his  villa  on  the 
Monte  Pincio,  whence  tliey  were  transferred  to  Florence  in  1771.  Two  of 
the  statues  tNos.  250,  247)  were  found  elsewhere.  Two  of  the  youths  are 
each  represented  twice.  The  following  have  no  connection  with  the  Kio- 
bidse:  to  the  right,  243.  Apollo  Citharoedus  (restored  aa  a  woman);  242. 
So-called  Tropbos  (nurse);  to  the  left,  251.  Psyche  tormented;  249.  Muse 
(so-called  Anchyrrhoe);  245.  So-called  Narcissus. 

Sala  di  Giovanni  ba  San  Giovanni,  with  several  pictures  by 
that  clever  though  rare  Florentine  master:  137.  Scene  from  the  life 
of  the  priest  (piovano)  Arlotto  (fresco);  1555.  Love-scene  (so- 
called  Quadro  clella  Sposa) ;  1151.  Venus  and  Cupid  (fresco).  Also, 
1555.  Guido  Rem,  Benedictine  monk;  114,  123,  135,  149.  Portraits 
of  ladies  of  the  English  court  (after  Sir  Peter  Lely's  originals  at 
Hampton  Court);  Angelica  Kauffmann,  34G2.  King  Stanislaus  II.  of 
Poland,  3542.  Fortunata  Salgher-Fantastici,  the  poetess. 

Saloon  of  the  Designs  (Sala  dei  Cartoni  e  Bozzetti). 

To  the  left  of  the  entrance,  575.  Salvaior  Rosa,  Cavalry  engagement; 
613.  Baroccio,  The  Madonna  in  prayer.  —  Opposite,  554.  Fra  Bartolomeo, 
Holy  Family,  553,  551,  549,  550,  548.  Fine  original  cartoons  of  saints;  86. 
Lor.  di  Credi,  Madonna.  —  The  stands  in  the  middle  bear  architectural 
sketches.  On  the  first  are  desit;ns  by  Qiuliano  da  SaiKjullo  (510,  512),  Fra 
Oiocondo  (513),  Brcanante  (515,  516),  Baldassare  Peruzzi  (518),  Ant.  da  Sau' 
gallo  the  Yovn<ji^r  (519,  5'iO),  and  Jac.  Sansovino  (525).  On  the  second  are 
designs  by  Giov.  da  Udine  (539,  540).  —  On  another  stand  are  'Drawings 
by  Michael  Angela,  including  147 a.  Portrait  of  Pope  Julius  II.  (?). 

To  the  left  is  tlie  Room  of  the  Miniatures  and  Pastbls.  On 
tlio  walls:  33(53-3368.  Angdo  Bronzino,  Portraits  of  the  Medici; 
3355.  ILtns  Holbein  tlie  Younger,  Portrait.  —  In  the  middle;  3445. 
Style  of  P.  Brueghel  the  Townyer,  Peasants  dancing;  3341.  Investiture 
of  a  nun  (miniature  of  the  15tli  cent.). 

At  the  end  of  the  corridor,  to  the  left,  are  three  rooms  contain- 
ing *DnAwiNGs  (Diseyni)  belonging  to  the  collection  mentioned  at 
p.  495  (others  in  frames  on  the  window-walls  of  the  W.  and  E. 
Corridors).  These  are  to  be  removed  to  the  rooms  occupied  at 
present  by  the  portraits  of  painters  (pp.  485,  486).  Catalogue  by 
Sig.  Nerino  Ferri,  l'/2  fr« 

Baeukkkk.    Italy  I.     13th  Edit.  32 


498   Route  64.  FLORENCE,     b.  Biblioteca  Nazionale. 

This  collection,  founded  by  Cardinal  Leopoldo  de'  Medici  (p.  486),  and 
afterwards  much  extended  by  the  donations  of  Erailio  Santarelli,  the 
sculptor,  now  contains  about  40,000  drawings.  All  the  drawings  exhibited 
to  view  bear  the  names  of  the  masters.  The  thick  numerals  indicate  the 
frames,  the  others  the  single  drawings  within  the  large  frames.  The 
enumeration  begins  in  the  room  at  the  V>ack. 

Room  1  contains  Tuscan  drawings  (Nos.  1-167).  11,  101.  Fra  Angelico,- 
Madonna;  47.  Verrocchio;  50,51.  Signorelli;  bZ-bt.  Sandro  Botticelli;  61,  63, 
65.  Ghirlandaio ;  93,  421,  423,  449,  96,  436,  97.  Leonardo  da  Vinci.  In  the 
middle  of  the  room,  especially  fine  drawings  by  Fra  Barlolomeo,  Michael 
Angela  (145,  620),  and  ^Andrea  del  Sarto.  —  Room  II.  168-248.  Continuation 
of  the  Tuscan  School  (240-248.  Sienese),  249-280.  Umbrian  and  Roman 
Schools:  among  these,  252-255.  Pietro  Perugino;  258.  Drawings  for  a  fresco 
of  Pinturicchio  in  the  library  at  Siena;  257,  377.  J'iniiiricc/iio,  Two  female 
figures  ;  260,  529,  530,  262,  496,  537,  263,  538,  539, 1477,  264,  541,  266,  534,  535. 
■Drawings  by  Raphael.  281-287.  School  of  Ferrara:  284,  388.  Portrait  by 
Oarofalo.  In  the  middle,  288-340.  Schools  of  Padua,  Verona,  Vicenza,  and 
Venice.  "295.  Mantegna,  Judith  with  the  head  of  Holofernes  ;  312,313.  Titian; 
318,  320-322.  Giorgione.  —  Room  III.  341-362.  Lombard  School.  363-377. 
School  of  Bologna.  378-394.  German  School,  with  fine  drawings  by  J/. 
Schongauer,  A.  Diirer,  Hans  Baldung  Grien.  and  Hans  Holbein  the  Younger. 
395-410.  Flemish  and  Dutch  School.  411.  French  School.  —  In  the  W. 
CoRRiuoK:  412-444.  Tuscan  Schools;  445-454.  Umbrian  and  Roman  Schools; 
455-461.  Lombard  School.  —  E.  Coekidoh:  462-470.  Venetian  School; 
471-485.  School  of  Bologna;  486,  487.  School  of  Oenoa;  488-490.  Neapolitan 
School;  492-498.  Flemish,  Dutch,  and  German  Schools,  with  drawings  by 
Rubens  and  Van  Dyck ;  499,  500.  Spanish  School;  501-508.  French  School, 
including  specimens  by  Jacques  Callot  and  Claude  terrain. 

The  door  at  the  end  of  the  corridor  gives  upon  the  roof  of  the 
Loggia  dei  Lanzi  (p.  474),  which  commands  a  beautiful  view  of 
Florence,  the  heights  of  Fiesole,  and  Monte  Morello  (p.  654). 

A  side-room  beside  the  director's  room  contains  a  Collection 
OF  Photographs  (ca.  40,000),  which  is  to  be  removed  to  the  rooms 
of  the  painters'  portraits.    Adm.  on  application  to  the  secretary. 

The  first  floor  of  the  edifice  contains  the  Biblioteca  Nazionale 
Centrale  (admission,  see  p.  464;  entrance  by  the  8th  door  from  the 
piazza),  which  has  been  formed  since  1860  by  the  union  of  the 
grand-ducal  Biblioteca  Palatina  and  the  still  more  extensive  Biblio- 
teca Magliabechiana.  The  latter,  founded  by  Antonio  Magliabechi 
(d.  1714),  a  jeweller  of  Florence,  has  been  dedicated  to  the  use  of 
the  public  since  1747.  The  present  library  contains  about  500,000 
vols,  and  20,000  MSS.,  and  is  regularly  increased  by  the  addition 
of  the  most  important  works  of  the  literature  of  other  nations.  There 
are  also  several  very  rare  impressions :  the  first  printed  Homer 
(Florence,  1488);  Cicero  ad  Familiares  (Venice,  1469);  Dante,  by 
Landino  (Florence,  1481,  in  a  handsome  binding  adorned  with  niel- 
los) ;  Piero  Medici's  presentation  copy  of  the  Anthologia  Grseca  ed. 
Lascaris.  Librarian,  Dr.  Sal.  Morpurgo.  —  The  staircase  to  the  right 
of  the  library  leads  to  the  Central  Archives  of  Tuscany  (Archivio 
di  State),  occupying  about  200  rooms  and  including  about  200,000 
documents  and  3-400,000  volumes.    Director,  Sign.  AL  Gherardi. 


r.  National  Mmetim.         FLORENCE.  n4    Route.    499 

c.  From  the  Piazza  della  Signoria  to  Santa  Croce  and  the  Piazza 
d'Azeglio.    National  Museum. 

Quitting  the  Piazza  della  Signoria  (p.  472),  we  follow  the  Via 
de  Gondi  to  the  right,  which  leads  us  to  the  Piazza  San  Firenze 
(PI.  F,  5),  with  the  church  of  that  name.  No.  1,  on  the  W.  side 
of  this  Piazza,  is  the  Palazzo  Gondi,  begun  about  1490  by  Giuliano 
da  Sangallo,  and  remodelled  in  1874  by  Poggi,  with  a  rustica  facade 
tapering  towards  the  top  and  a  handsome  court.  In  one  of  the  rooms 
on  the  first  floor  is  a  marble  chimney-piece,  with  a  relief  by  G.  da 
Sangallo. 

Immediately  on  the  right  in  the  Via  del  Proconsolo  (PI.  F,  5), 
which  leads  hence  to  the  N.  to  the  Piazza  del  Duomo,  rises  (No.  2) 
the  Gothic  Palazzo  del  Podesth,  commonly  known  as  *II  Bargello 
(PI.  F,  5),  begun  in  1255  for  the  Capitano  del  Popolo  (p.  467),  and 
from  1261  (?)  the  residence  of  the  Podesta,  or  chief  magistrate  of 
Florence.  The  building  was  repeatedly  damaged  by  riots,  fire  (1332), 
and  water  (1333)  during  the  14th  century.  From  1674  it  served  as 
a  prison  and  seat  of  the  head  of  the  police  (Bargello).  The  oldest 
part  of  the  building,  towards  the  Via  Proconsolo,  is  of  ashlar,  the 
upper  story  and  the  extension  towards  the  E.  (1333-45)  are  of  rough, 
unhewn  stone.  Between  1857  and  1865  the  imposing  structure 
was  judiciously  restored  by  Franc.  Mazzei  and  fitted  up  for  the 
**NationaI  Museum  (Museo  Nazionale),  illustrative  of  the  mediaeval 
and  modern  history  of  Italian  culture  and  art.  It  contains  several 
admirable  Renaissance  bronzes  and  marbles  (comp.  p.  1).  Admis- 
sion, see  p.  464;  catalogue  (1898)  3  fr. ;  curator,  /.  B.  Supino. 

The  two  front  rooms  of  the  Ground  Floor  contain  a  valuable 
collection  of  weapons,  comprising  many  pieces  of  great  worth  and 
beauty  formerly  in  the  possession  of  the  Medici.  In  the  Main  Room, 
to  the  right,  an  interesting  monster  cannon  in  bronze,  cast  in  1638 
by  Cosimo  Cenni;  in  the  middle  cabinet  at  the  S.  end  of  the  room, 
wheel-lock  muskets  inlaid  with  ivory;  in  the  last  cabinet  on  the  left, 
helmet  and  shield  by  Gasparo  Mola  (17th  cent).  The  adjoining 
room  in  the  tower  contains  armour  and  a  Turkish  saddle. 

We  then  enter  the  picturesque  *Court,  embellished  with  the 
armorial  bearings  of  former  Podestfis,  and  forming  with  its  massive 
colonnades  and  fine  flight  of  steps  (built  in  1345-67)  a  dignified 
and  eloquent  picture  of  the  spirit  of  the  14th  century.  The  walls 
under  the  colonnades  are  painted  with  the  armorial  bearings  of  the 
different  quarters  of  the  town.  On  the  N.  side:  3.  Niccolb  d'Arezzo, 
St.  Luke  (1404);  5.  Piero  di  Giovanni  Tedesco,  St.  John  (two  statues 
from  Or  San  Michele,  p. 476).  On  the  E.  side:  9.  Giov.  da  Bologna, 
Architecture,  on  a  fine  pedestal  by  Nice.  Triholo.  On  the  S.  side  : 
16.  Michael  Angelo  (?),  Dying  Adonis  with  the  boar;  16.  Giov.  da 
Bologna,  Virtue  triumphant  (1570);  18.  Michael  Angelo,  'Victory', 
an  old  man  fettered  by  a  youth,  unfinished,  designed  for  the  monu- 
ment of  Julius  II.  at  Rome. 

32* 


500   Route  64.  FLORENCE.  c.  National 

Opposite  tlie  tower-room  are  two  rooms  containing  sculptures. 
In  the  Vestibule  are  architectural  fragments  and  inscriptions.  Also: 
Paolo  di  Maestro  Giovanni,  51.  Madonna,  50.  St.  Peter,  52.  St.  Paul, 
three  statues  from  the  Porta  Romana  (1328);  67.  Romanesque  font 
from  Santa  Maria  Novella  (1302).  In  the  middle,  large  Roman- 
esque font  from  the  neighbourhood  of  Lucca,  —  Main  Room.  On 
the  entrance-wall:  91,  137.  Benedetto  da  Rovezzano,  Two  marble 
niches  from  the  Palazzo  Cepparello.  —  On  the  left  wall:  *128  (re- 
volving), Michael  Angelo,  Drunken  Bacchus,  a  youthful  work  of 
masterly  modelling,  executed  at  Rome  for  Jac.  Galli  (1497) ;  Benedetto 
da  Rovezzano,  Five  reliefs  (1505)  from  the  history  of  St.  Giovanni 
Gualberto  (p.  559).  On  the  end-wall:  *111.  Michael  Angelo,  Bust 
of  Brutus,  a  very  late  work  of  the  master,  unilnished  (for  the  reason 
given  in  the  inscription  alluding  to  the  suppression  of  liberty  at 
Florence);  112.  Benedetto  da  Rovezzano,  Chimney-piece  from  the 
Pal.  Rosselli  del  Turco  (p.  475).  On  the  right  wall :  Pierino  da  Vinci 
(a  nephew  of  Leonardo),  117.  Death  of  Count  Ugolino  (p.  433),  118. 
Holy  Family  (two  reliefs  of  about  1550);  Michael  Angelo,  *123. 
Holy  Family,  an  unfinished  relief,  unique  among  hfs  youthful  works 
for  its  calm  beauty,  *224  (revolving),  Statue  of  David  (unfinished), 
begun  in  1529  for  Baccio  Valori;  132.  Bart.  Ammanati,  Leda  with 
the  swan  (after  Michael  Angelo). 

The  Staircase,  halfway  up  which  is  a  triumphal  arch,  ascends 
to  the  — 

First  Floor.  The  loggia,  known  as  Verone,  contains  seven  bells, 
the  oldest  cast  by  Bartolomeo  Pisano  in  1249.  —  I.  Saloon  (Salone 
Donatelliano).  This  room  contains  ten  originals  by  Bonatello,  and 
casts  of  his  other  works  (comp.  p.  1).  In  the  centre.  Cast  of  the 
equestrian  statue  of  Gattamelata  at  Padua  (p.  273).  In  front  of  it, 
the  'Marzocco'  (p.  474).  In  a  niche  in  the  back-wall :  **St.  George, 
in  marble,  a  chivalrous  figure  breathing  cheerful  and  courageous 
youth,  posted  firmly  and  defiantly,  with  a  huge  shield  and  simple 
armour  (1416;  brought  hither  from  OrSan  Mich&le,  p.  476,  in  1891). 
To  the  left,  David,  characterized  by  a  youthful,  awkward  conscious- 
ness of  victory  (1416  ;  marble),  recalling  the  St.  George;  San  Gio- 
vannino  (j.  e.  the  Baptist  as  a  child),  an  alto-relief  in  sandstone;  to 
the  right,  marble  statue  of  the  Baptist  (ca.  1412),  a  pendant  to  the 
Magdalen  in  the  Baptistery  (p.  478);  Crucifixion,  a  relief  (partly 
gilded).  In  front,  to  the  left,  **David,  a  slender  and  youthful  figure 
in  bronze,  of  great  charm  and  noble  bearing  (ca.  1430?);  to  the 
right.  Bronze  figure  of  a  genius  (Attis)  trampling  on  a  snake  (the  so- 
called  'Amor').  Between  these:  Bronze  bust  of  a  young  patrician 
(the  so-called  youthful  Gattamelata);  coloured  terracotta  *Bust  of 
Niccolo  daUzzano  (?;  p.  468),  a  masterly  and  strikingly  lifelike  work 
(colouring  partly  restored). 

II.  Saloon  (dark) :  valuable  tapestries  and  fabrics  on  the  walls. 

III.  Saloon  :  *Carrand  Collection,  left  to  the  Museum  in  1888. 


Museum.  FLORENCE.  64.  Route.   501 

Paintings  (14-16tli  cent.)-  On  the  entrance-wall :  4.  Florentine  School 
(so -'called  Carrand  Master),  Triptych,  Madonna  enthroned,  with  four 
saints  (ca.  1460);  27.  IHrk  BotUt  (_'!),  Madonna;  34.  E.  van  der  Goes  {'!), 
Madonna;  38.  Hans  Baldung  Orien,  Scene  from  the  Dance  of  Death;  41. 
French  School,  Diptych,  Madonna  and  Crucifixion  (15th  cent.").  —  1st  Case, 
fine  bronzes ;  217.  BonacoUi,  Cybele  (?) ;  221.  Venetian  School  (16th  cent.), 
Fortuna;  226.  Oiov.  da  Bologna,  Architecture;  254,  258,  259.  Venetian 
candelabra;  plaquettes  (393.  Donatello,  Allegory  of  spring,  the  so-called 
Patera  Martelli)  and  implements.  2nd  Case  :  Enamels,  mostly  from  Limoges, 
ecclesiastical  articles,  table-cutlery,  etc.  3rd  Case:  'Ivory  carvings  (2nd- 
17th  cent.),  including:  24.  Byzantine  diptych  (8th  cent.);  26.  Byzantine 
reliquary  (lOth  cent.  ?);  80.  Norman-Mauresqxie  slabs  in  relief,  from  Sicily 
(12th  cent.).  Not  in  a  case:  155.  Chess-board  with  scenes  from  court-life 
(Burgundian;  i5th  cent.);  31.  French  ivory  fan  (flabellum),  used  for 
keeping  off  flies  during  divine  service  (r2th  cent.?).  Jth  Case:  Medals, 
seals,  enamels,  carved  gems,  and  wood-carvings.  On  the  walls  are  tapestry, 
majolica,  and  tiles.  —  Beneath  a  coloured  relief  of  the  Madonna  with  a 
worshipping  Podesta  is  the  entrance  to  the  — 

IV.  Saloox,  origiually  a  chapel,  afterwards  (from  about  1630) 
a  prison  for  those  condemned  to  death,  adorned  with  sadly  damaged 
frescoes,  ascribed  to  Giotto,  but  perhaps  executed  after  the  lire  in 
1337  by  his  pupils  (restored  after  1840 ). 

Opposite  us:  Paradise,  with  a  portrait  of  Dante  as  a  youth  (to  the 
right).  To  the  right  and  left,  below,  Madonna  and  St.  Jerome,  by  Bastiano 
Mainardi  (1490).  On  the  side-walls,  the  history  of  St.  Mary  of  Egypt  and 
Mary  Magdalen.     Over  the  door,  the  Infernal  Regions. 

The  cases  in  this  room  contain  valuable  Florentine  niellos 
(including  a  Crucifixion  resembling  Fra  Angelica's  work  and  a  pax 
formerly  ascribed  to  Maso  Finiguerrd),  enamels,  and  goldsmith's 
■work.  Also  choir-stalls  of  1493  and  a  fine  inlaid  choir-desk  (1498). 
—  The  SiBB  Room,  to  the  right,  contains  fine  specimens  of  weav- 
ing and  embroidery  and  handsome  ecclesiastical  vestments  (Carrand 
Collection). 

V.  Saloon.  In  front  are  some  beautiful  shields  and  weapons 
(86.  Sword,  Venetian  work  of  about  1500),  bequeathed  by  C. 
Ressmann  (1900),  the  statesman.  The  two  central  cases  contain 
carvings  in  ivory.  In  the  first  are  two  triptychs  by  Baldassare  degli 
Embriachi  (p.  163);  leaf  of  a  consular  diptych  of  Basilius  (541) ; 
crook  of  a  bishop's  staff  (14th  cent.);  statuette  of  the  Madonna 
(Florentine;  15th  cent.) ;  Byzantine  casket  (12th  cent.).  By  the 
sei'ond  window,  to  the  right,  two  ivory  saddles  (Italian ;  about  1400). 
The  goldsmith's  work  and  works  in  amber  may  also  be  noticed.  (The 
door  to  the  left  in  this  saloon  leads  to  the  second  floor,  see  p.  502.) 

VI.  Saloon:  Bronzes  of  the  15th  century.  Entrance-wall:  21. 
Reliquary  of  SS.  Protns,  Hyacinthus,  and  Neniesius,  by  Lor.  Ohibcrli 
(1428);  20.  Bertoldo,  Ancient  battle-scene  in  relief.  In  the  case: 
*IIercules  and  Antseus  by  Ant.  PoUaiuolo  (below,  to  the  left) ;  Dona- 
tello, Cupid;  Riccio,  Rape  of  Europa  (both  in  the  middle  row); 
imitations  of  antique  and  Renaissance  statuettes.  —  Exit-wall : 
*12,  13.  Abraham's  Sacrifice  by  Lor.  Ohiberti,  and  the  same  by  Fil. 
Brunelleschi,  the  earliest  Renaissance  sculptures,  produced  in  their 
competition  for  the  execution  of  the  gates  of  the  Baptistery  in 


502    Route  64.  FLORENCE.  .   c.  Kalivnal 

1402  (p.  478).  The  composition  of  Ghiberti  is  the  less  harmonious 
but  the  calmer  of  the  two.  Its  dignified  draped  figures,  especially 
that  of  Isaac,  are  full  of  a  true  antique  feeling  for  beauty,  while  in 
Brunelleschi's  relief  the  principal  figures  are  represented  in  violent 
movement,  and  Isaac  is  besides  remarkably  ugly.  The  subordinate 
figures,  including  the  ram,  are  also  in  positions  of  over-strained 
activity.  In  technical  execution  Ghiberti  is  superior.  14,  15.  Cruci- 
fixion (relief)  and  a  small  Frieze  of  children  with  Silenus,  by 
Bertoldo ;  16.  Tomb-flgure  of  Mariano  Sozzino,  a  jurist  of  Siena 
(1467),  by  Vecchietta.  —  Opposite,  case  with  statuettes  of  the  school 
of  Oiov.  da  Bologna.  —  In  the  revolving  case,  medals  and  pla- 
quettes.  —  In  the  centre:  *22.  Andrea  Verrocchio,  David  (1476), 
attractive  by  its  truth,  the  tender  handling  of  the  youthful  limbs, 
and  the  Leonardesque  head. 

VII.  Saloon:  Bronzes  of  the  16-17th  centuries.  Leftside:  23. 
Benvenuto  Cellini,  Ganymede;  37.  Daniele  da  Volterra,  Bust  of 
Michael  Angelo;  two  cabinets  with  imitations  of  ancient  and 
Renaissance  statuettes  (in  Case  2,  Giov.  da  Bologna,  Hercules). 
Between  them,  Benvenuto  Cellini,  39.  Bust  of  the  Grand-Duke 
Cosimo  I.  (1546),  38,  *40.  Models  in  bronze  and  in  wax  (1545) 
for  the  Perseus,  42.  Pedestal- relief  of  Perseus  and  Andromeda 
(comp.  p.  474).  —  45.  Elia  Candida,  ^olus,  the  wind-god;  Giov. 
da  Bologna,  47.  Galatea,  57.  Apollo ;  *53.  Vine.  Danti,  Bronze  door 
with  allegorical  representations.  —  By  the  window- wall:  Giov.  da 
Bologna,  *77.  Eagle,  *79.  Turkey.  Under  glass,  admirable  pla- 
quettes  of  the  Renaissance  period.  —  In  the  centre  :  *82.  Giov. 
da  Bologna,  Mercury,  a  bold  but  thoroughly  successful  work,  exe- 
cuted in  1564.  In  spite  of  the  baroque  pedestal  (a  wind-god  with 
expanded  cheeks)  the  bold  and  free  movement  of  the  figure  is  con- 
vincing and  attractive.  —  We  now  return  to  the  V.  Saloon  and 
ascend  to  the  right  to  the  — 

Second  Floor.  I.  RooM.  On  the  walls  are  numerous  glazed  terra- 
cotta reliefs  by  Luca,  Andrea,  and  Giovanni  della  Robbia,  some 
white  upon  a  blue  ground,  others  entirely  coloured.  On  the  main 
wall:  lU.  Luca  della  Robbia,  So-called  Genoese  Madonna;  on  the 
end-wall  to  the  right:  21.  Luca  della  Robbia,  The  Madonna  adoring 
the  Child;  23.  Andrea  della  Robbia,  Same  subject,  in  a  beautiful 
frame.  The  desk-cases  contain  a  collection  of  seals.  —  II.  Room 
(right).  Continuation  of  the  Della  Robbia  Works.  By  the  end-wall 
to  the  right,  *Luca  della  Robbia,  26.  Madonna;  28.  Madonna  with 
the  apple;  29.  Madonna  between  angels,  from  San  Pierino;  no 
number,  Madonna,  from  the  Via  dell'  Agnolo;  31.  Madonna  in  a 
bower  of  roses.  On  the  entrance-wall :  25.  Giovann  della  Robbia, 
Large  altar,  with  an  Adoration  of  the  Holy  Child  (1521);  Andrea 
della  Robbia,  76,  74,  71.  Three  Madonnas  (the  second  with  a  fine 
sandstone  pedestal  by  Franc,  di  Simone),  lb.  Bust  of  a  child.  On 
the  opposite  wall,  44.   Relief  of  the  Madonna,  in  which  the  flesh 


Museum.  FLORENCE.  64.  Route.   503 

parts  are  left  unglazed,  by  Oiov.  della  Robbia.  —  In  the  centre  is  a 
collection  of  fine  majolica  (chiefly  from  the  manufactories  of  Urbino, 
Gubbio,  and  Faenza);  Venetian  goblet  with  painting  in  enamel  of  the 
Triumph  of  Justice  (about  1500),  and  articles  of  rock-crystal.  —  In 
the  III.  Room  (tower-room)  are  Florentine  tapestry,  glass,  porcelain, 
works  in  amber,  etc.  —  We  now  return  to  Room  I  and  pass  into  the  — 

IV.  Room,  containing  terracotta  sculptures.  By  the  entrance- 
wall :  163.  Florentine  School  (Tasso?),  John  the  Baptist  when  a  boy 
(16th  cent.);  168.  Michelozzo,  John  the  Baptist  when  a  boy,  no 
number,  Florentine  School  (15th  cent.),  statue  of  the  Madonna.  — 
On  the  right  wall,  no  numbers,  Florentine  School  (loth  cent.),  '^Andr. 
Verroccliio,  Painted  reliefs  of  the  Madonna,  the  latter  from  Santa 
Maria  Nuova.  In  the  centre:  165.  Verrocchio,  Bust  of  Piero  di  Lo- 
renzo de'  Medici;  161.  Ant.  Pollaiuolo,  Bust  of  a  young  warrior.  — 
Then  works  in  marble:  139.  Style  of  Orcagna,  Angel  with  a  musical 
instrument;  147.  Ant.  Rossellino,  Bust  of  Franc.  Sassetti ;  153.  Bust 
of  Pietro  Mellini,  by  Ben.  da  Maiano  (1474);  160.  Bust  of  Matteo 
Palmieri,  by  Ant.  Rossellino  (1468). 

V.  Room  (1.):  Works  in  marble.  Left  side-wall:  179.  Ant. 
Rossellino,  Statue  of  John  the  Baptist  when  a  boy  (1477) ;  Verrocchio, 
146.  Tomb-relief  of  FraneescaPitti,  wife  of  Giov.Tornabuoni  (p.  530), 
who  died  in  her  confinement  (1477;  perhaps  executed  by  Franc, 
di  Simone),  *181.  Bust  of  a  young  woman,  with  a  nosegay,  *180. 
Madonna  in  relief;  191.  Ant.  Rossellino,  John  the  Baptist  when 
a  boy  (bust);  Luca  della  Robbia,  *201.  Crucifixion  of  St.  Peter, 
219.  St.  Peter's  Liberation,  two  unfinished  reliefs  (1438);  186,  192. 
Ben.  da  Maiano,  Candelabra  with  putti,  from  the  marble  door  in 
the  Palazzo  Vecchio;  214.  -Inf.  Risiellino,  Bust  of  a  boy;  198.  De- 
siderio  da  Setiignano,  Bust  of  a  girl.  —  Matteo  Civitali,  283.  Faith, 
no  number,  Ecce  Homo;  190.  Ant.  Rossellino,  Adoration  of  the 
Holy  Child  (round  relief);  Gian  Crislof.  Ronmno  (?},  Relief-por- 
traits of  Francesco  Sforza  and  Federigo  da  Montefeltro  (p.  490).  — 
Window -wall;  222.   Ben.  da  Maiano,   Coronation  of  an  emperor 

'  (partlyrestored  in  plaster). — By  the  entrance-wall :  Mino  daFiesole, 
*234, 236.  Busts  of  Piero  (1453]  and  Giovanni  di  Cosimo  de'  Medici, 
235.  Bust  of  Rinaldo  della  Luna  (1461),  232.  Relief  of  the  Ma- 
donna. —  In  the  centre:  *226.  Benedetto  da  Maiano,  John  the 
Baptist  (1481);  no  number,  Benvenuto  Cellini,  Antique  torso  of  a 
youthful  Apollo  restored  as  Ganymede;  *225.  Jac.  Sansovino, 
Bacchus  (injured),  from  the  masters  early  Florentine  period  ;  227. 
Lor.  Bernini,  Bust  of  Costanza  Buonarelli. 

From  the  IV.  Room  we  proceed  to  the  right  to  the  YI.  Room, 
which  contains  a  valuable  assortment  of  Renaissance  plaquettes  and 
of  medals  (15-19th  cent.).  By  the  rear-wall,  dies  for  coins.  On  the 
walls,  French  Gobelins  of  the  time  of  Louis  XV. 

On  the  opposite  side  of  the  Via  Proconsolo  is  the  church  of 
La  Badla  (PI.  F,  5;  entrance  at  the  end  of  the  colonnade,  to  the 


504   Route  64.  FLORENCE.       c.  From  the  Signoria 

left),  originally  a  Benedictine  convent,  founded  by  Willa,  the  mother 
of  the  Tuscan  Margrave  Hugoof  Andeburg,who  died  about  1000  A.D. 
The  present  building  was  chiefly  erected  by  Segaloni  (1625),  -who 
left  nothing  of  the  original  edifice  (built  in  1285  by  Arnolfo  di 
Cambio  ?)  except  the  termination  of  the  choir. 

The  main  portal  (almost  entirely  restored),  oppo.sife  the  Bargcllo,  and 
the  two  chapels  in  the  adjoining  colonnade  (nnw  walled  up)  are  by  Benedetto 
da  Rovezzano  (1495).  Over  the  portal  is  a  terracotta  relief  by  Benedetto 
Buglioni,  in  the  style  of  Andrea  della  Kobbia.  A  chapel  on  the  right  of 
the  side  -  entrance  contains  a  good  painting  of  the  14th  century.  —  In 
the  Interiok,  immediately  to  the  right,  a  Madonna  and  saints  in  relief, 
in  the  right  transept,  Monument  of  Bernardo  Giugni  (1466),  and  in  the  left 
transept,  that  of  the  Margrave  Hugo  (see  above  ;  14S1),  all  by  Mino  da  Fiesole. 
In  a  chapel  to  the  left  of  the  last,  'Madonna  attended  by  a  company  of 
angels,  appearing  to  St.  Bernard,  by  Filippino  Lippi  (1480),  an  early  work 
and  the  most  beautiful  painting  of  the  master.  The  beautiful  wooden 
ceiling  of  the  church  is  by  Segaloni.  —  The  Monastery  Court  contains 
remains  of  monuments  of  the  old  noblesse  (with  whom  this  was  a  favourite 
church  in  Dante's  time)  and  frescoes  of  the  15th  century.  —  The  graceful 
Campanile  (1330)  was  restored  in  1895. 

A  few  paces  farther  on,  to  the  right  (No.  10),  is  the  *PalazzO 
Quaratesi  (PI.  F,  5;  formerly  Pal.  Pazzi),  said  to  have  been  begun 
by  Brunelleschi  in  1445,  but  completed  in  1462-70  by  Giuliano  da 
Maiano.  The  court  is  handsome.  At  the  corner  ('Canto  del  Pazzi') 
are  the  armorial  bearings  of  the  Pazzi  (p.  468).  Adjacent,  the 
Palazzo  Nonfinito  (PI.  F,  5;  now  the  telegraph-office),  begun  for 
the  Strozzi  in  1592  by  Bern.  Buontalenti.  The  upper  story  was 
added  by  Vine.  Scamozzi  (1602);  the  court  was  extended  by  Cigoli. 

Between  these  two  palaces  diverges  the  quaint  Boego  degli 
Albizzi,  in  which  are  several  other  interesting  mansions.  No.  24 
(left),  the  PAI.AZZO  Pazzt  (PI.  F,  5),  rebuilt  after  1568  for  Ramirez 
de  Montalvo  by  Bart.  Ammanati,  has  handsome  windows  and  well 
preserved  graffito  decorations.  No.  18  (left),  the  Palazzo  Altoviti 
(PI.  F,  5),  formerly  the  Pal.  Valori,  is  adorned  with  the  busts  of 
celebrated  Florentines  ('I  Visaed',  i.e.  'the  caricatures';  1570).  The 
Palazzo  Albizzi  (No.  12;  PI.  G,  5)  was  the  last  residence  of  the 
powerful  family  of  that  name  (p.  468).  The  Gothic  Palazzo  Ales-, 
sandri  (No.  15;  PI.  G,  5),  opposite,  dates  from  the  14th  century. 

In  the  Via  Ghibellina  (which  leads  from  the  Bargello),  a  little 
to  the  S.  of  the  Borgo  degl  Albizzi,  is  the  building  occupied  by 
the  Teatro  Verdi  (PL  F,  G,  6).  In  this  building  is  an  ancient  fresco 
(ascribed  to  Oiottino),  representing  the  'Expulsion  of  the  Duke  of 
Athens  (p.  467)  from  Florence  on  the  festival  of  St.  Anne,  1343', 
interesting  also  on  account  of  the  view  it  contains  of  the  Palazzo 
Vecchio  (entrance  by  No.  83;  the  custodian  shows  the  fresco).  —  A 
few  paces  from  here,  in  the  little  piazza  of  the  same  name,  stands 
the  church  of  San  Simone,  which  contains  a  graceful  Gothic  cibo- 
rium  (1363;  to  the  left  of  the  high-altar). 

The  neighbouring  Piazza  de'  Peruzzi  (PL  F,  6),  the  residence  of 
the  commercial  family  of  that  name  (p.  468),  whose  influence  cul- 
minated in  the  14th  cent.,  contains  several  Gothic  Houses.    The 


to  Santa  Croce.  FLORENCE.  64.  Route.   505 

curve  of  the  Roman  amphithealre  may  still  be  traced  in  the  position 
of  these  buildings  and  also  in  the  Via  Torta  and  the  Via  del  Ben- 
taccordi. 

In  the  spacious  Piazza  di  Santa  Croce  (PI.  F,  G,  6)  rises  Dante's 
lilonament,  by  Enrico  Pazzi,  inaugurated  with  great  solemuity  on 
the  600th  anniversary  of  the  birth  of  the  great  poet  (b.  1265),  14th 
May,  1865.  It  consists  of  a  white  marble  statue  19  ft.  in  height, 
on  a  pedestal  23  ft.  high ,  the  corners  of  which  are  adorned  with 
four  shield-bearing  lions  with  the  names  of  his  four  most  important 
works  after  the  Divina  Coramedia :  the  Convito,  Vita  Nuova,  De 
Vulgari  Eloquio,  De  Monarchia.  Round  the  pedestal  below  are  the 
arms  of  the  principal  cities  of  Italy.  —  To  the  right  (No.  23)  is  the 
Palazzo  delV  Antella  (1620),  with  a  facade  decorated  with  frescoes 
■which  were  executed  within  the  short  space  of  27  days  by  Giovanni 
da  San  Oiovanni  and  twelve  other  masters.  To  the  N.W.  (No.  1) 
is  the  Palazzo  Serristori,  a  graceful  structure  of  1469-74.  The  upper 
story  overhangs  at  the  sides. 

The  Gothic  church  of  *Santa  Croce  (PI.  G,  6),  the  largest  church 
belonging  to  any  of  the  mendicant  orders,  was  begun  in  1294,  from 
a  design  by  Arnolfo  di  Cambio,  for  the  Franciscans,  who  at  that 
time  were  the  popular  favourites  among  the  monkish  bodies.  It 
was  completed  in  1442 ,  with  the  exception  of  the  unattractive 
fa(;ade,  which  was  executed  in  1857-63  by  Niccolb  Matas,  at  the 
expense  of  Mr.  Francis  Sloane  (d.  1871),  from  the  old  design  said 
to  be  by  Cronaca.  The  tower  has  been  well  restored.  Over  the 
central  door  is  a  bas-relief  (Raising  of  the  Cross),  by  Oiov.  Dupre. 
The  interior,  consisting  of  a  nave  128  yds.  in  length,  21  yds.  in 
width,  and  56  ft.  in  height,  flanked  by  aisles  9  yds.  wide,  with  a 
transept  14  yds.  in  width,  and  an  open  roof,  rests  on  14  octagonal 
piers  placed  at  considerable  intervals,  and  produces  an  impressive 
effect,  enhanced  by  its  numerous  monuments  of  celebrated  men. 
This  church  may  be  called  the  Pantheon  of  Florence,  and  its  interest 
is  greatly  increased  by  the  frescoes  of  Giotto  and  his  successors 
Taddeo  Gaddi,  Gioltino,  Giovanni  da  Milano,  Agnolo  Gaddi,  etc. 
(best  light  in  the  morning).  The  baroque  altars  were  erected  by 
Giorgio  Vasari  in  1566,  by  order  of  Cosimo  I. 

Entrance  Wall.  Over  the  central  door  are  a  window  filled  with 
stained  glass  (Descent  from  the  Cross)  from  drawings  ascribed  to  Lorenzo 
Ohiberti,  and  a  bronze  "Statue  of  St.  Louis  of  Toulouse  by  Donatella  fl423). 

Right  Aisle.  On  the  right,  beyond  the  first  altar,  Tomb  of  Michael 
Angelo,  whose  remains  repose  below  it  (d.  at  Rome,  15G4),  erected  in 
1370  after  Vasans  design,  the  bust  by  Battisla  Loreuzi,  the  fine  figure  of 
Architecture  (on  the  right)  by  Oiovanni  dalV  Opera,  Painting  and  Sculpture 
by  Lorenzi  and  Valeria  Cioli.  —  On  the  pillar  opposite ,  the  '"Madonna 
del  Latte',  a  relief  by  Kossellino,  above  the  tombstone  of  Francesco  Neri.  — 
Beyond  the  second  altar,  Monument  to  Dante  (interred  at  Ravenna,  p.  4l4), 
with  the  inscription  'Onorate  Taltissimo  poeta!',  by  Stefano  iiicei  (1829).  — 
Tomh  of  Alfieri  (d.  1303),  by  Canova  (erected  at  the  expense  of  the  Countess 
of  Albany).  —  'Marble  Pulpit,  by  the  pillar  to  the  left,  by  Benedetto  da 
ifaiano  (ca.  1475),    described  as  'the  most  beautiful  pulpit  in  Italy'.     The 


506   Route  64.  FLORENCE.  c.  Church  of 

five  reliefs  represent  the  Confirmation  of  the  Franciscan  Order,  the  Burn- 
ing of  the  books,  the  'Stigmata',  the  Death  of  St.  Francis,  and  Execution 
of  brothers  of  the  Order;  below  are  statuettes  of  Faith,  Hope,  Charity, 
Fortitude,  and  Justice.  —  Machiavelli  (d.  1527),  by  Innoceiizo  Spinazzi, 
erected  in  1787,  with  inscription,  'Tanto  nomini  nullum  par  elogium\  — 
Lanzi  (d.  1810),  the  writer  on  art.  —  Adjacent  are  a  fresco  by  Dom.  Vene- 
ziano,  representing  John  the  Baptist  and  St.  Francis,  and  an  'Annunciation, 
a  sandstone  relief  by  Donatello  (ca.  1426-30);  above,  four  charming  Putti. 

—  'Monument  of  the  statesman  Leonardo  Bruni  (d.  1444),  surnamed  Aretino 
from  his  birthplace,  by  Bern.  Rossellino ,  one  of  the  first  of  the  large 
Renaissance  tombs,  afterwards  so  frequently  imitated.  The  figure  of  the 
deceased  upon  the  bier  supported  by  eagles,  is  especially  fine.  —  In  the 
floor  is  a  simple  memorial  slab  marking  the  tomb  of  Gioachino  Rossini 
(1792-1868),  the  composer,  whose  remains  were  brought  from  Paris.  The 
adjacent  monument  to  him,  by  Cassioli,  was  unveiled  in  1902. 

Right  Transept.  —  The  Ch.\pel  op  the  Castellani  or  del  Santo 
Sackamento  (1st  on  the  right)  is  adorned  with  frescoes  (freely  restored), 
on  the  right  from  the  lives  of  St.  Nicholas  and  John  the  Baptist,  on  the 
left  from  those  of  SS.  John  and  Anthony  by  Agnolo  Gaddi;  on  the  left, 
the  monument  of  the  Countess  of  Albany  (d.  1824),  widow  of  the  young 
Pretender,  by  Luigi  Giovan7>ozzi,  the  two  angels  and  the  bas-relief  (Faith, 
Hope,  and  Charity)  by  Emilio  SantareUi.  —  Farther  on,  Cappella  Baron- 
CELLi,  now  Qiugni.  To  the  right  of  the  entrance  is  a  Gothic  monument 
of  1327.  The  chapel  is  decorated  (left  side)  with  frescoes  from  the  life  of 
the  Virgin,  the  principal  work  of  Taddeo  Oaddi  (1332-38).  Over  the  altar 
a  Pieta  in  marble  by  Bandinelli  ('forms  without  significance  and  of  poorest 
composition''  according  to  Burckhardt).  On  the  right  is  the  Madonna  della 
Ciatola,  a  fresco  by  Bastiano  Mainardi. 

The  door  of  the  corridor  leading  to  the  sacristy  is  next  reached.  The 
Sackistt  (entrance  by  the  first  door  to  the  left)  contains  'Cabinets  and 
doors  with  fine  intarsia  work  by  Giov.  di  Michele  (1440-50).  On  the  wall 
to  the  left  is  a  terracotta  bust  of  Christ  praying,  by  Andrea  delta  Ilohbia. 
On  the  wail  to  the  right  are  frescoes  of  scenes  from  the  Passion,  by  Niccolb 
di  Pietro  Gerini;  large  missals  with  ancient  miniatures.  —  The  Cappella 
RiNuociNi  (separated  from  the  sacristy  by  a  beautiful  railing)  is  adorned 
with  "Frescoes  (scenes  from  the  life  of  Mary  Magdalen  and  the  Virgin)  by 
Giovanni  da  Milano  (1365).  —  At  the  end  of  the  corridor  is  the  Cappella  de' 
Medici,  erected  about  1434  by  Michelozzo  for  Cosimo  the  Elder  (unlocked 
by  the  sacristan ;  25-30  c.)-  By  the  right  wall  are  a  marble  ciborium,  by 
Afino  da  Fiesole,  and  a  relief  of  the  Madonna,  of  the  School  of  Donatello. 
Above  the  door,  Christ  between  two  angels,  on  the  left  wall.  Madonna 
(after  Verrocchio),  and  Madonna  with  saints  above  the  altar,  all  terracotta 
reliefs  of  the  School  of  the  Robbia.  On  the  left  wall  also  is  a  Coronation 
of  the  Virgin  by  Giotto  ('opus  magistri  Jocti') :  —  Note  the  calm  kind- 
liness, the  tender  solicitude  in  the  action  of  the  Saviour,  the  deep  humility 
in  the  attitude  and  expression  of  the  slender  Virgin  ....  Let  the  student 
mark  also  how  admirably  the  idea  of  a  heavenly  choir  is  rendered ;  how 
intent  the  choristers  on  their  canticles,  the  players  on  their  melody,  how 
quiet,  yet  how  full  of  purpose,  how  characteristic  and  expressive  are  the 
faces  ;  how  appropriate  the  grave  intentness  and  tender  sentiment  of  some 
angels;  how  correct  the  action  and  movements  of  others;  how  grave  yet 
how  ardent  are  the  saints,  how  admirably  balanced  the  groups  (C.  &  C.). 

—  (The  cloisters,  which  adjoin  this  chapel, are  entered  from  the  Piazza, 
p.  505.) 

Chapels  by  the  E.  Wall.  In  the  1st  Chapel  on  the  right  are  damaged 
frescoes  of  the  School  of  Giotto,  representing  the  Contest  of  the  Archangel 
Michael.  —  The  3bd  Chapel  belongs  to  the  Bonaparte  family;  monument 
(1.)  of  Carlotta  Bonaparte  (d.  1839)  and  (r.)  that  of  Julia  Clary-Bonaparte 
(d.  1845),  by  Lor.  Bartolini. 

We  now  come  to  the  chapels  of  the  Peruzzi  and  the  Bardi,  containing 
'"'Giotio''s  principal  paintings,  the  work  of  his  ripest  years,  full  of  intel- 
lectual life  and  unadulterated  truthfulness,  and  wholly  free  from  superfluity 
or  exaggeration.    These  fine  works  were  discovered  by  G.  Bianchi  in  1853 


Santa  Croce.  FLORENCE.  64.  Route.    507 

and  have  been  extensively  restored.  In  the  Cappella  Perdzzi  Giotto  has 
portrayed  the  life  of  the  two  St.  Johns:  (to  the  left,  beginning  at  the  top) 
Zacharias  at  the  altar,  'Nativity  of  the  Baptist  (with  a  very  fine  figure  of 
Elizabeth),  "Dancing  of  the  Daughter  of  Herodias;  (on  the  right)  Vision  of 
the  Evangelist  in  Patmos,  from  the  Apocalypse,  Resuscitation  of  Drusiana, 
and  "Ascension  of  the  Evangelist,  whose  tomb  his  disciples  find  empty.  — 
In  the  Cappella  Babdi  (the  next),  which  Mr.  Ruskin  calls  'the  most  in- 
teresting and  perfect  little  Gothic  chapel  in  all  Italy',  Giotto  depicts  scenes 
from  the  life  of  St.  Francis  of  Assisi :  (to  the  right,  above).  Confirmation 
of  the  rules  of  his  order  by  the  Pope,  St.  Francis  before  the  Sultan 
challenging  the  Magi  to  the  ordeal  of  fire,  St.  Francis  blessing  Assisi  on  his 
death-bed,  and  St.  Francis  appearing  in  a  vision  to  the  Bishop  of  Assisi ; 
(on  the  left),  St.  Francis  flees  from  his  father's  house.  He  appears  to  St. 
Anthony  at  Aries,  and  bis  'Burial  (a  masterpiece,  distinguished  by  variety 
of  character  and  harmony  of  composition).  On  the  ceiling  are  figures  re- 
presenting Poverty,  Chastity,  and  Obedience,  the  three  chief  virtues  of  the 
order,  and  the  saint  in  glory.  The  vaultings  above  the  windows  are  em- 
bellished with  the  figures  of  saints ,  including  the  attractive  form  of 
St.  Clara.  For  a  farther  discussion  of  the  frescoes  in  this  chapel  the  reader 
should  turn  to  Nos.  I  &  III  of  Ruskin^t  'Mornings  in  Florence'. 

The  Choir  is  adorned  with  'Frescoes  by  Agnolo  Oaddi  (d.  1396),  from 
the  legend  of  the  Finding  of  the  Cross ;  on  the  ceiling  the  Evangelist 
and  saints. 

In  the  4th  Chapel  (Capella  de'  Pucci),  adjoining  the  choir  on  the  left: 
Martyrdom  of  SS.  Lawrence  and  Stephen,  frescoes  by  Bernardo  Z)a<irf»  (1324) ; 
over  the  altar  Madonna  with  saints,  a  coloured  relief  in  terracotta,  by 
Giovanni  delta  Robbia.  —  The  5th  Chapel  (San  Silvestro)  contains  frescoes 
by  Oioltino,  Conversion  of  the  Emp.  Constantine  and  Miracles  of  St.  Sylvester ; 
on  the  N.  wall,  above  the  sarcophagus  of  Uberto  de'  Bardi,  Christ  as  Judge 
(retouched),  with  the  deceased  kneeling  before  him;  to  the  right.  Fresco 
of  the  Entombment. 

Left  Transept.  Above  the  altar  of  the  central  chapel,  separated  from 
the  end  of  the  transept  by  a  railing,  is  a  Crucifixion,  an  early  work  of 
Donatella  (executed  in  competition  with  Brnnelleschi,  see  p.  531),  covered. 
—  At  the  corner  of  the  transept  and  left  aisle  are  the  monuments  of  the 
composer  L.  Cherubini  (born  at  Florence  1760,  d.  1842)  and  the  engraver 
Raphael  Morghen  (1753-1833),  both  by  Fantacchiotti.  On  the  opposite  pillar 
the  monument  of  the  celebrated  architect  Leon  Battista  Alberti  (1405-72), 
erected  by  the  last  of  his  family,  a  marble  group  by  Barlolirii,  unfinished. 

Left  Aisle.  'Monument  of  Carlo  Marsuppini  (d.  1455),  secretary  of  state, 
by  Desiderio  da  Settignano^  surpassing  the  tomb  of  his  predecessor  Bruni 
(p. 506)  in  wealth  of  ornament  (cast  in  South  Kensington  Museum).  Model  of 
a  monument  to  Donatello,  by  Vrbano  Lucchesi.  Near  the  entrance,  monument 
of  Galileo  Galilei  (d.  1642),  by  O.  B.  Foggini.  Adjacent,  fragments  of 
frescoes  (Crucifixion,  etc.),  of  the  School  of  Giotto.  On  the  entrance-wall 
is  the  monument  of  the  savant  Gino  Capponi  (1792-1876),  by  Ant.  Sortone 
(18S4).  —  In  the  middle  of  the  nave,  near  the  choir,  the  marble  tomb  of 
John  Catrick,  Bishop  of  Exeter,  who  died  at  Florence  in  1419  when  on 
an  embassy  from  King  Henry  V.  to  Pope  Martin  V. 

The  First  Cloisters,  erected  T)y  Arnolfo  di  Cambio,  are  now 
usually  entered  from  the  Piazza  Sauta  Croce,  through  a  gate  to  the 
right  of  the  church.  They  contain  the  tomb  of  Gastone  della  Torre, 
patriarch  of  Aquileia  (d.  at  Florence  in  1317),  old  monuments  of 
the  Alamanni,  Pazzi,  and  other  families,  many  coats-of-arms,  and 
modern  tombs.  In  the  centre,  God  the  Father,  a  statue  by  BanrfineWi, 

Opposite  the  entrance  from  the  Piazza  is  the  *Cappella  of  the 
Pazzi  (p.  468),  one  of  the  first  creations  of  modern  architecture, 
erected  by  Brunelleschi  about  1430,  and  restored  in  1899-1900. 
The  vestibule  has  a  barrel-vaulted   roof,    supported  by  columns 


508   Route  64.  FLORENCE.      c.  From  Santa  Croce 

connected  by  a  parapet,  and  interrupted  in  the  middle  by  an  arch 
and  cupola  adorned  with  glazed  and  coloured  lacunars.  In  front  is 
a  charming  frieze  of  angelic  heads  by  Donatella  and  Desiderio  da 
Settignano.  The  interior,  roofed  with  a  flat  dome,  forms  one  of  the 
earliest  examples  of  the  principle  of  architectural  centralisation, 
which  is  so  characteristic  of  the  Renaissance.  The  terracottas  of  the 
spandrels,  representing  the  four  *Evaugelists  aud  twelve  Apostles 
(below),  are  by  Luca  della  liohlia. 

The  old  Refectoky  of  tUe  Franciscan  convent,  on  the  entrance-side 
of  the  cloisters,  is  opened  by  the  custodian  (30-50  c);  it  is  now  fitted  up 
as  the  Museo  delV  Opera  di  Santa  Croce.  On  the  rear-wull  is  a  Last  Supper, 
probably  by  Taddeo  Qaddi:  above,  the  Crucifixion,  with  a  genealogical  tree 
of  the  Franciscans,  and  the  legend  of  SS.  Francis  aud  Louis  by  an  inferior 
hand.  The  refectory  contains  also,  on  the  side-walls,  two  Crucifixions  of 
the  School  of  Qiotto,  a  fresco  of  St.  Eustace,  erroneously  attributed  to  Andrea 
del  Coitaffiio,  and  an  old  relief  (13th  cent.)  of  the  Maries  at  the  Tomb.  On 
the  end-wall  to  the  left,  a  Crucifixion  (fresco)  by  Michele  Ohirlandaio, 
formerly  on  the  Porta  San  Gallo.  —  The  adjoining  Winteb  Refectoky 
contains  the  Miracle  of  St.  Francis  (multiplication  of  the  loaves),  a  fresco 
by  Oiovanni  da  Sail  Oiovanni. 

The  Second  Cloisters,  by  Brunelleschi,  one  of  the  finest  colon- 
naded courts  of  the  early  Renaissance,  are  now  included  in  the  cavalry 
barracks  in  the  Corso  de'  Tintori  (adm.  only  by  permission  of  the 
officer  of  the  guard). 

Leaving  the  Piazza  Santa  Croce,  we  proceed  to  the  S.W.  through  the 
Via  de'  Eenci,  at  the  end  of  which,  on  the  right.  No.  1,  is  the  Palazzo 
Alberti  (once  the  residence  of  Leon  Batt.  Alberti ;  restored  in  1850),  and 
reach  the  Ponte  alle  Grazie  (see  p.  547). 

From  the  N.E.  side  of  S.  Croce,  the  Via  delle  Pinzochere  leads 
to  the  Via  Ghibellina  (p.  504),  No.  64  in  which,  at  the  corner  of 
the  Via  Buonarroti,  is  the  Casa  Buonarroti  (PL  G,  6),  purchased 
by  Michael  Angelo  for  his  nephew  Leonardo.  Leonardo's  son,  the 
poet  Michael  Angelo  Buonarroti  the  Younger,  here  founded  about 
1620  a  collection  of  memorials  of  his  great  kinsman,  which  the  last 
of  the  Buonarroti  bequeathed  to  the  city  in  1858.  This  Gallekia 
BuoNAKROTi  contains  two  early  paintings  (ca.  1492)  and  designs 
hyMichaelAngelo,  besides  other  works  (adm.,  seep.  464).  Catalogue 
(1886),  50  c. 

Room  I.  16.  Imitator  of  Oiorgione  (more  probably  a  copy  after  Titianf), 
Conversation -piece;  *12.  Battle  of  the  Lapithse  and  Centaurs,  in  relief, 
an  early  work  by  Michael  Angelo,  whose  delight  in  bold  movements,  defiant 
attitudes,  and  the  representation  of  vehement  passion  is  already  apparent. 
Opposite,  1,  2.  Portraits  of  Michael  Angelo,  by  Oiul.  Bugiardini  and  by 
Marcello  Venusti,  pupil  of  Michael  Angelo :  5.  Carrand  Master  (p.  501),  Pre- 
della  representing  the  Legend  of  St.  Nicholas  of  Bari.  —  To  the  left  is  — 

Room  II,  with  'Drawings  by  Michael  Angelo.  In  the  lower  frames  on 
the  walls  and  in  the  middle.  Architectural  sketches.  The  best  drawings  in 
the  upper  frames  are :  by  the  entrance,  to  the  left,  Head  looking  down,  in 
red  chalk;  in  frame  9,  First  design  for  the  facade  of  San  Lorenzo  (p.  52G) ; 
12,  13.  Studies  for  the  Last  Judgment  in  the  Sistine  Chapel;  •15.  Madonna 
(partly  executed  in  colours).  —  We  return  through  Room  I  to  — 

Room  III.  By  the  window-wall:  20.  Statue  of  Michael  Angelo  in  a 
sitting  posture,  executed  by  Ant.  Novelli,  in  1620;  on  the  walls  scenes  from 
the  great  master's  life,   and  on   the   ceiling  similar  scenes   and  allegories 


to  the  Piazza  d'Azeglio.     FLORENCE.  64.  Route.    509 

by  Jac.  da  Empoli,  Crist.  Allori,  Franc.  Furini,  and  other  artists  (1620). 
Kxit-wall:  Madonna  and  saints,  of  which  Michael  Angela  is  said  to  Lave 
drawn  the  design. 

Room  IV.  Family  pictures,  etc. 

Roost  V  (chapel).  To  the  left,  *72.  Madonna  on  the  Steps,  a  bas-relief 
in  marhle,  another  early  work  of  Michael  Anr/elo. 

'In  tho.  Madonna  on  (he  Steps  the  traces  of  his  apprenticeship  are  still 
very  evident.  The  dignified  figure  of  the  Madonna,  who  is  nursing  the 
Child,  the  flowing  drapery,  and  the  corporeal  forms  recall  the  powerful 
women  of  Domenico  Ghirlandaio ;  while  the  technical  execution,  with  the 
outlines  fading  into  the  background  and  the  gentle  raising  of  the  inner 
planes,  suggests  the  influence  of  Donatello.'  —  Springer. 

Opposite,  79.  Daniele  da  VoUerra  (not  Giov.  da  Bologna).,  Bronze  bust 
of  Michael  Angelo. 

Room  VI.  Archives  of  MSS.  of  Michael  Angelo  and  clay  models  and 
autographs  of  the  master  (to  the  left  1,  and  to  the  right  10,  "Models  of  the 
David,  p.  521).  —  In  Room  VII  is  some  m^ajolica. 

From  this  point  tLe  Via  de'  Macci  leads  to  the  N.E.  to  the 
piazza  and  the  church  of  Sant'  Ambrogio  (PI.  H,  6).  Simple 
inscriptions  on  the  pavement  of  the  church  indicate  the  graves  of 
Cronaca  (right),  Andr.  Verrocchio,  and  Mino  da  Fiesole  (left).  In 
the  Cappella  del  Miracolo,  to  the  left  in  the  choir,  are  a  Tabernacle 
by  Mino  da  Fiesole  (1481)  and  a  large  fresco  of  the  Procession  of 
Corpus  Christi,  the  chief  work  of  Cos.  Rosselli  (I486;  satisfactory 
light  only  in  the  morning). 

The  Via  Sant'  Ambrogio,  on  the  left  side  of  which  is  a  hand- 
some <Sj/na<;opMe  (^Tempio  Israelitico ;  PI.  U,  5),  leads  to  the  Piazza 
d'Azeglio  ( PI.  H,  I,  5 ;  omn.,  see  p.  461),  with  its  gardens.  —  Church 
of  Santa  Maria  Maddalena  de'Pazzi  and  Archaeological  Museum, 
see  pp.  516-511. 

d.  From  the  Piazza  del  Duomo  to  the  Piazza  dell'  Annunziata. 
Archaeological  Museum. 

Leaving  the  Piazza  del  Dnomo  (p.  477)  by  the  Via  be'  Sbryi 
(PI.  F,  G,  4),  we  pass  the  Palazzo  Fiaschi  (No.  10),  on  the  right  (fine 
windows  on  the  groundfloor),  and  the  Palazzo  Buturlin  (PI.  U,  4; 
formerly  Pal.  Niccolini),  on  the  left  (No.  16),  with  its  handsome 
court  and  modern  painting.  The  former  was  erected  by  B.  Ammanati, 
the  latter  by  Domenico,  son  of  Baccio  d'Agnolo.  We  then  reach 
the  Piazza  dell'  Annunziata  to  the  N.E. 

The  large  block  of  buildings  in  the  adjacent  Via  de'  Pucci  is 
the  Palazzo  Pucci  (PI.  F,  4),  dating  from  the  15th  cent.,  but  partly 
rebuilt  in  the  16th  and  17th  by  Bart.  Ammanati  and  Falconieri. 

In  the  Via  degli  Alfani,  to  the  riglit,  a  little  short  of  the  piazza, 
rises  the  former  Canialdulensian  convent  of  Santa  Maria  degli 
Angioli  (PI.  G,  4),  founded  in  il'-.^b,  with  an  unfinished  octagonal 
Oratory  with  niches,  by  Brunelleschi.  —  Opposite  (No.  50)  is  the 
Palazzo  Giugni,  built  by  Ammanati  in  1560,  with  a  fine  portal  and 
court. 

At  the  left  corner  of  the  Piazza  dell'  Annunziata  (PI.  G,  3,  4) 


bio   Route  64.  FLORENCE,     d.  Spedale  degUInnocenU. 

is  (No.  1)  the  Palazeo  Riccardi-Mannelli,  a  brick  edifice  with  orna- 
mentation in  stone  of  Fiesole,  erected  by  Bern.  Buontalenti  in  1565. 
The  piazza  is  embellished  with  two  baroque  fountains  by  Pietro 
Tacca  (1629),  and  the  Equestrian  Statue  of  the  Orand-Duke  Fer- 
dinand J.,  by  Giovanni  da  Bologna  (his  last,  but  not  his  best  work), 
erected  in  1608,  and  cast  of  metal  captured  from  the  Turks.  The 
pedestal  was  adorned  in  1640. 

On  the  S.E.  side  of  the  piazza  rises  the  Spedale  degli  Inno- 
centi,  or  Foundling  Hospital  (PI.  G,  4;  adm.  on  week-days  1-6  p.m.), 
the  initial  work  of  Renaissance  architecture,  begun  in  1419  by 
Brunelleschi^  continued  after  1427  by  his  pxipil  Francesco  delta  Luna, 
and  completed  in  145 1 ,  at  the  expense  of  the  Guild  of  Silk  Weaverg. 
The  medallions  with  charming  *Infants  in  swaddling  clothes,  be- 
tween the  arches,  are  by  Andr.  delta  Robbia.  To  the  left  in  the  court, 
over  the  door  leading  to  the  church  of  Santa  Maria  degli  Inno- 
CENTi,  is  a  good  Annunciation  by  Andrea  della  Robbia.  The  interior 
contains  an  altar-piece  (covered),  the  *Adoration  of  the  Magi,  by 
Domenico  Ohirlandaio  (1488),  On  the  right  side  of  the  court  is  the 
entrance  to  a  small  picture-gallery  (Piero  di  Cosimo,  etc.  ;  Relief 
of  the  Madonna  by  Luca  della  Robbia).  —  Opposite  the  Spedale  is 
the  hall  of  the  Servi  di  Santa  Maria  brotherhood,  erected  by  Antonio 
da  Sangallo  the  Elder  and  Baccio  d^Agnolo  (1518). 

The  church  of  the  *Saiitissinia  Annimziata  (PI.  G,  H,  3),  on 
the  N.E.  side  of  the  piazza,  was  founded  in  1250  on  the  site  of 
the  Romanesque  church  of  Santa  Maria  della  Pace,  and  has  since 
been  altered  and  redecorated  by  Michelozzo  ( 1444-60)  and  others, 
Michelozzo's  handsome  portico  was  rebuilt  by  Caccini  in  1601. 
The  first  door  on  the  left  leads  to  the  old  Servite  monastery  and  the 
cloisters,  that  in  the  centre  to  the  church,  that  on  the  right  to  the 
chapel  of  the  Pucci,  founded  in  1300,  and  restored  in  1615. 

The  Antekioe  Cooet  is  adorned  with  "Frescoes  by  Andrea  del  Sarlo 
and  others,  which  are  now  protected  from  the  weather  by  a  glass  colonnade 
(opened  by  the  sacristan;  30-50  c).  To  the  left  of  the  entrance  to  the 
church:  Adoration  of  the  Shepherds,  by  Alessio  Baldovmetii  (1460);  In- 
vestiture of  Filippo  Benizzi,  founder  of  the  order,  by  Cosimo  Rosselli  (147(!). 
Then  to  the  left  follow  five  'Frescoes  by  Andrea  del  Sarlo:  San  Filippo 
clothing  the  sick  (beside  it,  bust  of  Andrea,  by  0.  Caccini)-^  Gamblers  struck 
by  lightning  while  mocking  S.  Filippo;  Cure  of  a  possessed  woman;  Dead 
man  raised  to  life  by  the  corpse  of  S.  Filippo ;  Boy  healed  by  the  saint's 
robe.  'Carried  away  by  his  feeling  for  harmony  of  colour,  and  charmed 
v/henever  he  could  realize  a  vague  and  vaporous  twilight  of  tone  (see  es- 
pecially the  Death  of  the  SaintJ,  Andrea  was  unable  to  combine  that  ap- 
pearance with  absolute  neutral  contrasts  ....  but  the  balance  was  almost 
restored  by  the  facility  with  which  he  obtained  transparence,  gay  colours, 
and  smoothness  in  the  melting  of  tints  into  each  other'.  —  C.  d:  C.  —  These 
paintings  were  executed  by  A.  del  Sarto  while  still  young  (ca.  1510);  he 
appears  as  a  finished  master  in  the  'Frescoes  on  the  other  side:  'Arrival 
of  the  Magi,  executed  with  a  still  more  running  hand  (than  the  following) 
but  with  less  chastened  sentiment,  the  figures  characterised  by  a  self- 
confident  swing  (C.  <t  v.),  and  the  ''"Nativity  of  Mary,  painted  in  1514  'on 
the  highest  level  ever  reached  in  fresco'.  In  the  right  foreground  of  the 
former,  facing  the   spectator,   is  a  portrait  of  Jac.   Sansovino,   while  the 


d.  SS.  Anmmziiita.  FLORENCE,  64.  Route.   511 

painter  himself  is  shown  pointing  towards  the  front.  The  dignified  woman 
in  the  centre  of  the  other  fresco  is  Lucrezia  del  Fede,  A.  del  Sarto's  wife. 
—  The  remaining  frescoes  are  by  Del  Sarto's  contemporaries  and  pupils: 
Franciabigio.  Nuptials  of  Mary  (1513),  damaged  by  the  painter  himself  in 
his  choler  at  its  premature  uncovering  by  some  of  the  monks;  Pontormo, 
"Visitation  (1516);  Rosso,  Assumption  (1517). 

The  Interior  is  adorned  with  a  large  ceiling-paiating  of  the  Assumption 
by  Giro  Ferri  (1670).  To  the  left,  before  the  1st  chapel,  under  a  kind  of 
canopy  of  later  date,  is  the  Cappella  della  Vergine  Annumiata,  erected  in 
1448-52  by  Pagno  di  Lapo  Portigiani  from  Michelozzo's  design,  and  sump- 
tuously decorated  with  silver,  gold,  and  gems  by  the  Medici  •,  it  contains 
a  'miraculous'  picture  of  the  Virgin,  a  fresco  of  the  13th  century.  — 
3rd  Chapel.  Copy  of  Michael  Angela's  Last  Judgment  (behind  it  a  fresco  by 
Andr.  del  Castagno,  St.  Jerome)  and  frescoes  by  Al.  Allori.  —  5th  Chapel, 
Pieiro  Perugino,  Assumption.  —  The  large  Rotonda  of  the  Choik  is  pe- 
culiar, though  its  eft'ect  has  been  somewhat  marred  by  the  later  baroque 
decorations.  It  was  begun  in  1451  by  Michelozzo  and  completed  in  1470-76 
from  designs  by  Leon  Baitista  Alberli.  To  the  left  at  the  entrance  is  the 
monument  of  Angelo  3Iarzi-5Iedici,  by  Francesco  da  Sangallo  (1546).  In  the 
3rd  chapel  is  a  Madonna  with  saints,  by  Pieiro  Perugino  (injured).  The 
5th  chapel  contains  a  crucitix  and  six  reliefs  from  the  Passion  by  Qiovanni 
da  Bologna  and  his  pupils,  with  the  monument  of  the  former.  —  Over  an 
altar  to  the  left  in  the  right  transept  is  a  Pieta  by  Baccio  Bandinelli,  who 
is  buried  beneath  it. 

A  door  in  the  left  transept  leads  to  the  Cloisters.  Adjoining  this  door, 
on  the  outside,  opposite  the  entrance  from  the  street,  is  a  "Fresco  by  Andrea 
del  Sarto,  the  Madonna  del  Sacco  (1525),  remarkable  for  the  calm  and 
dignified  composition,  and  the  beauty  of  the  colouring,  which  is  still 
discernible  in  spite  of  its  damaged  condition.  On  the  same  side  is  the 
entrance  to  the  chapel  of  the  guild  of  painters  (Cappella  dei  Pittori  or  di 
San  Luca;  closed),  adorned  with  sculptures  hy  Montorsoli  (1536j  and  a  fine 
fresco.  Madonna  and  saints,  an  early  work  by  Pontormo,  and  containing  the 
tomb  of  Benvennto  Cellini.  —  In  the  Second  Cloisters  (opened  by  the  sac- 
ristan), to  the  left,  is  an  admirable  terracotta  statue  of  John  the  Baptist, 
by  Michelozzo. 

The  Via  della  Sapieuza  leads  hence  to  the  Piazza  San  Marco 
(see  p.  518). 

In  the  Palazzo  della  Crocetta  (PI.  H,  4),  Via  della  Colonna  26, 
a  straggling  building  erected  in  1620,  are  the  *Museo  Archeologico 
and  the  Collection  of  Tapestby  (director,  Cav.  Milani;  adm.,  see 
p.  464).  Most  of  the  objects  have  explanatory  labels.  Catalogue  for 
the  Etruscan  Topographical  Museum  in  preparation ;  old  catalogue 
for  the  Egyptian  Museum,  by  Schiaparelli,  in  the  second  room. 

On  the  Gkodnd  Flook  is  the  Etruscan  Topographical  Museum,  formed 
in  1897.  —  Rooms  I-III.  Tombs  of  Vetdlonia,  the  present  t'o/onna  (8-6th cent. 
B.C.).  —  Room  1,  entrance-wall:  tomb  containing  a  .skeleton;  above,  a 
plan  of  Vetulonia.  Also  relics  of  fire-tombs,  urns  in  the  form  of  huts  (in 
the  middle),  cinerary  urns,  and  slabs  for  roofing  the  tombs  (left  wall).  — 
Room  2  contains  remains  from  circular  graves  (7-6th  cent.).  In  the  middle 
are  remains  of  a  bronze  receptacle  fur  the  bones ,  with  silver  reliefs 
(model  beside  it);  bronze  ship  (object  unknown).  Entrance-wall,  to  the 
right,  bronze  articles ;  to  the  left,  beautiful  gold  bracelets  in  filigree  work 
(from  the  East),  amber  chain.  Rear-wall :  silver  cup,  Greek  weapons, 
ornaments  for  horses.  Exit-wall:  silver  beaker,  of  Oriental  manufacture; 
vessels  of  various  kinds,  fragments  of  silver  ornaments.  — Room  3.  Articles 
from  tumuli  (7-6th  cent.).  To  the  right,  remains  of  primitive  statues  in 
soft  sandstone,  copies  of  embossed  bronze  ligures.  In  the  middle,  remains 
of  beautiful  gold  ornaments  (imported).  Entrance-wall ;  Coins  from  Ve- 
tulonia and  Populonia  (Pupluna). 


512   Route  64. 


FLORENCE. 


d.  Museo 


Room  IV.  VoLsiNii  (_Orvieto  and  Bolse7ia ,  to  which  the  community 
was  transferred  after  the  destruction  of  the  mother-town  in  B.C.  280).  In 

the  middle,  stele  with  inscription. 
The  cabinets  by  the  rear-wall  hold 
the  contents  of  three  graves :  to  the 
right,  large  bronze  urn;  in  the  middle, 
remains  of  an  ivory  casket,  vase  with 
the  feats  of  Theseus  by  the  Athen- 
ian painter  Kachrylion,  the  oldest 
Panathenseic  prize  amphora  but  one 
(Athena  and  youth  with  fillet);  to  the 
left ,  bronze  armour.  —  To  the  right 
of  the  window,  fine  mould  for  acro- 
teria  (adjacent  a  plaster-cast). 

Room  V.     CORTONA    AND    AsEZZQ. 

To  the  left  of  the  entrance ,  vases 
from  Cortona.  —  To  the  right  of 
the  entrance,  fragments  of  ped-glazed 
pottery  (Aretine  vases) ;  two  perfect 
vases  and  two  moulds  in  the  glass 
case  in  front  of  the  window  (dance 
and  banquet).  —  To  the  left  of  the 
entrance,  four  bronze  candelabra. 

Room  VI.  Clusium  (Chiuti).  En- 
trance-wall: cinerary  urns  with  por- 
trait-like heads.  To  the  left  are 
two  very  realistic  tomb-statuettes  of 
women.  —  The  glass-case  in  front 
of  the  window  contains  death-masks 
of  clay  and  bronze.  —  Rear-wall : 
two  large  urns ,  one  with  a  man 
and  woman  (with  gold  ornaments), 
the  other  with  a  man  and  a  winged 
Parca;  between,  chair  with  urn  and 
table  of  bronze,  vases,  etc.,  from  a 
warrior's  tomb. 

Room  VII.  Vases  fkom  Cldsium. 

The  vases   of  black  clay  (bucchero) 

are   of  native   manufacture   (comp.    the  Room    of  the  Bucchero  Vases  on 

the  Ist  floor);   those  with   painted    figures   are   mostly    importations  from 

Greece.  —  We  return  to  R.  V  and  pass  thence  to  the  left  into  — 

Room  VIII.  Luna  {Luni;  p.  119).  By  the  side-wall,  remains  of  three 
temple  pediments  in  terracotta  (to  the  right  and  in  the  centre,  groups  of 
gods;  to  the  left.  Destruction  of  the  'Niobidse),  of  the  2nd  cent.  B.C. 

Room  IX.  Faleeii  (Civitd  Castellana).  To  the  right,  archaic  vases 
and  bronzes  down  to  the  5th  cent.  B.C.;  to  the  left,  of  the  4th  and 
3rd  cent.  B.C.  When  this  and  the  following  rooms  are  closed,  the  keys  may 
be  obtained  at  the  directors  office.  —  The  corridor  leads  to  the  left  to  — 
Room  X.  ToscANiA  (Toscanella).  Sarcophagus-figures.  By  the  en- 
trance :  tomb-statue  of  a  woman. 

Room  XI.     ViSENTiA  (Bisenzio).     Vases  and  bronzes. 
Room  XII.    Telamon  (  Talamone).    Opposite  the  entrance,  remains  of  a 
temple-pediment  of  terracotta  (Amphiaraas  and  Adrastus).    In  the  middle, 
good  replica  of  an  archaic  statuette  of  Artemis  at  Naples  (cast  to  the  left). 
—  We  return  through  R.  IX  to  — 

Room  XIII.  Tarqdinii  (Corneto).  By  the  walls,  slabs  with  reliefs 
resembling  metal-work.  —  In  the  middle,  sarcophagus,  with  banquets  on 
the  sides  and  genii  on  the  ends, 

Room  XIV.  VuLCi.  In  the  middle,  sculptures  from  the  tombs  of 
Vulci.  —  Left  end:  remains  of  a  terracotta  pediment,  with  a  relief  of 
Dionysus  and  Ariadne  (comp.  the  urn  to  the  left).  —  In  the  wall-cases  : 
remains  from  other  necropoles  in  the  district  of  Vulci.  —  We  now  pass 
through  the  small  court  into  the  large  court. 


T-'za- 


P  c^rfj  oLu, 


Archeologico.  FLORENCE.  64.  Route.    513 

Court  XV.  Florentia.  Relics  of  the  Roman  Florence  (from  temples, 
thermse,  streets,  and  gates). 

Room  XVI  has  other  remains  of  the  thermce  of  Florence. 

Room  XVII.  Florentia-F^suL/B.  Cinerary  urns,  cippi,  and  steles 
from  the  earliest  days  of  Florence  (Italic)  and  Fiesole  (Etruscan). 

The  Gakdkn  (beside  R.  VIII)  contains  reproductions  of  the  various 
forms  of  Etruscan  tombs  (apply  to  one  of  the  attendants;  adm.  every  1/2 hr.). 

On  the  First  Floor  to  the  left  is  the  Egyptian  Collection,  to  the  right 
the  older  portion  of  the  Etruscan  Museum  (founded  1871). 

Egyptian  Museum.  I.  Hall  of  the  Gods.  At  the  door.  Small  ensigns, 
used  in  battle;  small  votive  pyramid  (15th  cent.  B.C.).  —  Entrance-v^all : 
Mummies  of  ibises,  hawks,  and  cats ;  images  of  sacred  animals.  In  the 
other  cases  are  statuettes  of  gods,  amulets,  scarabsei,  etc.  —  By  the  2nd 
window  is  a  table  for  votive  gifts  to  the  dead.  —  In  the  centre:  the 
Goddess  Hathor  suckling  King  Horemheb,  a  statue  from  Thebes  (15th  cent. 
B.C.),  found  near  Santa  Maria  sopra  Minerva  at  Rome.  To  the  left  of  the 
e.xit,  mummy  of  an  ape;  to  the  right,  fragment  of  a  statue  of  the  god  Bes, 
in  limestone. 

II.  Hall  of  Inscriptions.  To  the  left,  by  the  walls:  Sepulchral 
reliefs  from  the  ancient  empire.  Porphyry  bust,  fragment  of  a  colossal 
statue  of  a  king  (ca.  3300  B.C.).  Under  glass  :  Wooden  statuettes  of  two 
female  slaves  making  bread  (Memphis,  ca.  3300  B.C.).  Beside  the  columns: 
Statues  of  the  high-priest  Ptahmes  from  Memphis  (15th  cent.  B.C.),  the 
first  in  quarzite.  —  In  tbe  centre :  Limestone  sarcophagus  and  various 
remains  of  frescoes.  By  the  walls ,  Sepulchral  reliefs  and  inscriptions 
(16th  to  6th  cent.  B.C.) ;  in  the  case  lay  the  entrance-wall,  reliefs  with  re- 
presentations of  animals,  and  the  statue  of  a  deceased  woman  (ca.  1600B.C.); 
on  the  opposite  wall:  Funeral  rites  (i4th  cent.  B.C.) ;  Artisans  (i6th  cent. 
B.C.);  Seti  I.  receiving  the  necklace  from  the  goddess  Hathor,  a  large 
coloured  relief  in  limestone  (15th  cent.  B.C.);  Coloured  relief  of  Ma,  the 
goddess  of  truth;  fragment  of  a  relief,  with  four  scribes  (16th  cent.  B.C.). 

—  In  the  case  by  the  window :  Fresco  from  a  tomb  at  Thebes  (16th  cent. 
B.C.),  representing  two  Asiatic  princes  bringing  tribute  of  gold  and  ivory. 

—  At  the  door  (right),   the   minister  Uahabra,   fragment  of  a   statue  from 
Sais  (6th  cent.  B.C. ;  found  near  Santa  Maria  sopra  Minerva  at  Rome). 

III.  Large  Hall  of  Mummies.  By  the  window-wall,  to  the  left,  case 
with  mummy-ornaments.  —  To  the  right.  Mummy  of  a  woman  (7th  cent. 
B.C.),  on  a  modern  death-bed  imitated  from  a  wall-painting.  Underneath 
are  four  canopi  or  vessels  containing  the  intestines.  —  No.  21.  of  the  papyri 
contains  a  representation  of  the  judgment  of  the  dead.  —  We  now  pass 
through  the  door  to  the  left,  at  the  opposite  end  of  the  room,  into  — 

IV.  Small  Hall  of  Mummies  (with  painted  mummy-cases),  and  — 

V.  Alexandrian  Hall  (specimens  of  Hellenistic  art  in  Egypt).  In  the 
middle,  two  mummies  of  the  2nd  cent.  A.D.  —  In  the  cases :  Mummy  of  a 
child,  with  the  head  exposed ;  portrait  of  a  woman  from  a  mummy-coffln 
of  the  2nd  cent.  A.D.;  specimens  of  textile  industry,  etc.  —  We  now 
retrace  our  steps  through  Rooms  III  and  II,  and  enter  — 

VI.  Hall  of  Sepulchral  and  Domestic  Objects.  By  the  entrance 
wall:  Vessels  from  Memphis  and  Thebes ;  small  jar  with  lid  of  the  My- 
cenaean period  (imported);  remains  of  eggs,  fruit,  etc.  —  Window -wall: 
Vessels  of  metal  and  glass  (the  latter  imported).  —  Exit-wall :  Alabaster 
vessels  bearing  the  names  of  kings  (c.  3000  B.C.);  painted  vessels.  —  Last 
Wall:  Chairs,  baskets,  etc.  —  In  the  middle:  Rings,  keys,  remains  of 
enamelled  vessels,  remains  of  plants,  etc. 

VII.  Room  op  the  Chariot.  In  the  middle,  *War  Chariot,  found  in 
a  Theban  tomb  of  the  14th  cent.  B.C.  —  Entrance -wall:  Textile  goods, 
baskets,  harp.  —  Rear-wall :  Bast  shoes,  ornaments,  mirrors,  basket, 
comb,  vase  with  black  pigment  for  the  eyebrows.    Exit-wall:  Weapons,  etc. 

—  The  door  in  front  leads  to  the  — 

£truscan  Museum.  VIll.  Room  op  the  Bucohero  Vases  (p.  512).  Case  1: 
Earliest  ware;  period  of  the  hut-urns;  Italic  bucchero.  —  Cases  2  and  3 
illustrate  the  gradual  development  of  the  art.  —  Cases  4  &  5 :  Vases  from 

Baedekeb.  Italy  I.    13th  Edit.  33 


514    Route  64. 


FLORENCE. 


d.  Museo 


W.  Etruria,  sliowing  Greek  influence,  with  stamped  friezes  (6th  cent.  B.C.). 

—  Cases  G-9:    Vases  from  Chiusi,   showing  Oriental  Influence  (6-5th  cent. 

B.C.);  applied  bas-reliefs,  baroque  forms.  —  Cases  10-12  illustrate  the  gradual 

decay.  —  We  next  pass  through  R.  IX.  to  the  — 

X.  Bronze  Room.    In  the  middle,  fragments  of  large  bronze  figures, 

found  at  the  springs  of  ch'^nciano.  —  Below  the  window,  bronze  mirrors 

with  engraved  design.  —  Cases  i  &2: 
Candelabra,  cists,  etc.  —  Case  3 : 
Rings,  scrapers,  riizors,  needles,  etc. 

—  Cases  5-7:  Weapons.  In  Case  5: 
405.  ilelmet  with  engraved  design, 
found  at  Verona  (6th  cent.);  in  Case 7  : 
407.  Helmet  of  Corinthian  form;  406. 
Etruscan  helmet,  found  at  Canuse 
(battle  B.C.  216).  -  Case  8:  Articles 
of  the  4th  &  3rd  cent.  B.C.,  from  Tela- 
mone.  —  Case  9:  Objects  from  Todi 
(3rd  cent.).  —  Case  10:  Iron  weapons. 

—  Case  11:  "69.  Silver  vessel. 
XI.  Room  of  tuk  Chim.^ea.     In 

the  middle:  *  Chima;ra,  an  early 
Greek  work  of  the  5th  cent.  B.C., 
found  at  Arezzo  in  1554.  —  In  the 
corners:  Athena,  also  found  at  Arez- 
zo,  after  an  original  of  the  school  of 
Praxiteles  (4th  cent.  B.C.);  "Statue  of 
an  Orator,  the  so-called  'Aringatore', 
of  the  latest  period  of  the  Roman  re- 
public, found  at  the  Trasimene  Lake 
in  1566.  —  Case  5:  Mirrors  and  mirror- 
cases,  the  case  in  the  middle  especially 
fine.  —  In  the  table-cases  are  mirrors 
and  objects  in  bone,  including  a  sta- 
tuette of  a  pygmy  with  a  crane.  — 
On  the  cases:  Statuettes,  those  to  the 
right  archaic,  those  to  the  left  more 
developed ;  among  the  latter,  a  stand- 
ing Hermaphrodite.  —  In  the  first 
glass-case:  Objects  found  in  a  tomb- 
chamber  at  Chiusi  (5th  cent.  B.C.); 
the  bronze  rim  of  the  brazier,  with  its 
three  Sileni,  is  a  Greek  work  of  the  6th  cent.  B.C.  —  In  the  second  glass- 
case :  at  the  top,  1.  Youth  with  horse;  2.  Athena,  after  a  Greek  original 
of  the  5th  cent.  B.C.;  below,  12.  Vertumnus,  the  Italic  god  of  harvest 
(6th  cent.  B.C.);  14.  Hercules;  16.  Bast  of  a  Roman  boy.  —  We  now  return 
to  Room  IX. 

IX,  XII,  XIII.  Rooms  of  the  Vases.  In  Room  IX,  on  the  column  at 
the  window:  situla  of  bronze,  with  a  low  relief  of  Hephsestns  brought 
back  to  Olympus  by  Dionysus  (3rd  cent.  B.C.);  situla  of  silver,  with 
engraved  design,  a  Phoenician  work  of  the  7th  cent.  B.C.;  leaden  tablet 
from  Magliano,  with  an  Etruscan  ritual  inscription  (3rd  cent.  B.C.).  Case  1 : 
Earliest  vases,  without  glaze,  most  of  them  Italic.  Cases  2  &  3:  Corinthian 
vases  (7-6th  cent.  B.C.),  with  a  few  Italic  imitations.  Case  4  :  Black-figured 
vases  of  the  6th  cent.  B.C.  (none  Attic).  —  Room  XII.  Case  1,  in  the  middle 
of  the  room,  contains  Corinthian  vases.  Cases  5-10:  Large  Attic  vases,  with 
black  figures,  for  water,  wine,  and  oil  (6th  cent.  B.C.).  Cases  11  &  12 : 
Black-figured  tazze  and  crateree.  The  central  case  on  the  floor  of  the  room 
contains  a  potsherd  of  Chalcidian  origin  (below);  above.  Pyxis  by  the 
painter  Nikoilhenes.  At  the  top  is  the  '-Francois  Vase  (so  named  from  its 
finder),  a  cratera  by  the  Attic  painter  Elilias  '(6th  cent.  B.C.).  In  1900  this 
vase  was  shattered  by  a  miscreant,  but  it  has  been  pieced  together  again.  It 
is  decorated  with  (first  section)  the  Calydonian  Hunt,  Theseus  and  Ariadne 


Vxa.    cLeTZa  Fergola- 


Areheologieo.  FLORENCE.  64.  Route.    515 

triuuipUing  after  the  death  of  the  Minotaur;  (2nd  section)  Funeral  games 
ia  honour  of  Patroclus,  Lapithae  and  Centaurs ;  (3rd  section)  Marriage  of 
Peleus  and  Thetis ;  (4th  section)  Death  of  Troilus,  Dionysus  and  Hephtes- 
tus  in  Olympus;  (5th  section)  Figures  of  animals;  (6th  section,  at  the 
foot)  Battle  (f  pygmies  and  cranes;  (on  the  handle)  Artemis,  Ajax  with 
the  body  of  Achilles,  and  demons  of  battle.  The  next  detached  case  con- 
tains (at  the  top)  a  beautiful  white-ground  vase,  with  a  coloured  repre- 
sentation of  Aphrodite  and  two  Amoretti  in  the  interior.  Cases  13-15 : 
Red-figured  tazze  (5th  cent.).  Cases  16-19 :  Large  and  small  vessels  of 
diverse  kinds.  In  the  passage  are  two  fine  Apulian  amphoroe.  The  cases 
by  the  window-wall  contain  Etruscan  imitations.  —  Room  XIII.  Cases  22 
28:  Vases  from  Apulia,  Lucauia,  and  Campania  (4th-3rd  cent.  B.C.).  Case  29: 
Silver-plated  and  gold-plated  vases  with  reliefs,  from  Volsinii  (p.  512;  3rd- 
2nd  cent.  B.C.).  —  We  now  return  to  Room  XII  and  pass  to  the  left 
into  the  — 

XXI.  Room  of  the  Sakcophagi.  To  the  left,  under  glass:  'Terracotta 
sarcophagus  from  Chiusi,  with  abundant  traces  of  painting  and  figure  of 
the  deceased  on  the  bed  (2nd  cent.  B.C.).  —  By  the  wall  behind:  stone 
door  of  a  tomb;  cinerary  urns  in  the  form  of  houses;  part  of  a  pediment. 

—  By  the  exit:  Two  cinerary  urns  in  the  form  of  seated  figures.  —  In  the 
centre  :  Head  of  a  warrior  from  the  Necropolis  of  Volsinii  (5th  cent.  B.C.); 
sarcophagus  of  peperino  (5th  cent.  B.C.). 

XXII.  Room  of  the  Cinekakt  Uens.  Extensive  collection  of  Cinerary 
Urns  with  mythological  designs  in  relief,  arranged  according  to  subjects 
(Etruscan  works  after  Greek  models).  In  the  centre:  ""Alabaster  sarco- 
phagus from  Corneto,  with  a  painting  of  a  battle  of  Amazons  (4th  cent. 
B.C.).  —  We  return  to  Room  XII  and  pass  through  the  next  door  to  the 
right  into  the  — 

XVIII.  Room,  with  archaic  vases  and  terracottas  from  Cyprus  (right 
wall).  —  To  the  left  is  the  — 

XIX.  Room  of  the  Cameos  and  Intaglios.  Drawers  beneath  the  in- 
taglios contain  casts.  In  the  1st  Case,  to  the  left  of  the  first  window,  the 
cameo  No.  3  (red  numbers),  with  the  Sacrifice  of  Antoninus  Pius,  is  re- 
markable fur  its  size;  7.  Cupid  riding  on  a  lion,  with  the  name  of  the  artist 
( Protarchos) ;  9.  Cupid  tormenting  Psyche;  31.  Nereid  on  a  hippocampus. 

—  2iid  Case:  Bo.  Judgment  of  Paris;  51.  Zeus  of  Dodona;  63.  Hercule-s 
and  Omphale.  —  3rd  Case:  86.  Youthful  Augustus;  100,  101.  Tiberius.  — 
4th  Case:  148.  Wounded  stag.  —  6th  Case  (by  the  second  window):  23 
(black  numbers),  Apollo ;  -54.  Hercules  and  Hebe,  with  the  name  of  the 
artist  (Teuiros);  72.  Satyr  and  child.  —  6th  Case:  101.  Mourning  Cupid; 
145.  Apollo.  —  7th  Case:  176  (red  numbers),  Bacchante;  185.  Pluto;  190, 
191.  Leander  (?).  —  Sth  Case:  Chiefly  portrait-heads.  —  By  the  third  window 
is  the  collection  bequeathed  by  Sir  William  Currie  to  the  Ufflzi  in  1863. 
Case  1:  5.  Hermaphrodite;  20.  Dancing  satyr.  —  Case  2:  46,  50.  Fine 
heads.  —  Case  3:  106.  Ajax  and  Achilles.  —  The  revolving  glass-case  by 
the  second  window  contains  a  Head  of  Alexander  the  Great  in  rock-crystal, 
and  the  signet-ring  of  Augustus,  found  in  the  mausoleum  of  the  emperor 
at  Rome.  —  In  the  cabinets  beside  the  first  window  are  specimens  of 
Phienician  and  Roman  glass,  mostly  found  in  Etruria;  in  the  cabinet  to 
the  left  note  the  small  Phoenician  amphora,  from  Tharros  in  Sardinia.  — 
Beside  the  second  window  are  tasteful  Kti-uscan  gold  ornaments.  —  In 
the  other  cabinets  is  a  valuable  collection  of  Florentine  and  foreign  coins.  — 
We  now  return  to  Room  XIU  and  cross  the  lobby  to  the  — 

XVI.  Room  ok  the  Small  Bronzes  (this  and  the  following  room  are 
not  always  open).  In  Case  4  by  the  entrance-wall:  Silver  shield  of  Arda- 
bur,  the  Alan  (5th  cent.  A. D.).  —  By  the  left  wall,  in  Case  1  are  statuettes: 
Tyche,  tutelary  deity  of  Antioch;  Wrestler;  Serapis;  Amazon,  after  a 
statue  by  Polycletus;  Sleeping  Erinyes;  'Zeus,  a  Greek  original  of  the 
5th  cent.  B.C.  —  In  Case  2,  by  the  right  wall:  Statuettes  of  Hercules, 
Aphrodite,  and  Hephjestus  (nude;  restored  wrongly  with  a  sickle).  Also, 
two  Roman  inscriptions. 

XVII,  Room  of  the  Idolino.  In  the  middle,  on  a  revolving  stand: 
So-called  '"Idolino,  an  honorary  statue  of  a  young  athlete,  a  Greek  original 

33* 


516   Route  64.  FLORENCE,     d.  Museo  Archeologieo. 

of  the  5th  cent.  B.C.,  found  at  Pesaro  in  1530;  the  base  dates  from  the 
16th  century.  —  By  the  rear-wall,  to  the  right:  *Torso  of  a  youth,  a  Greek 
original  of  the  end  of  the  6th  cent.  B.C.;  to  the  left,  fine  horse's  head. 
Also,  four  Greek  portrait-heads  (7.  Sophocles;  8.  Homer). 

Ascending  the  staircase  from  Room  XVI  to  the  second  floor,  we 
enter  the  Galleeia  dbgli  Abazzi  (tapestry).  English  catalogue 
(1891),  2  fr. 

The  first  rooms  contain  ancient  woven  and  embroidered  stufls  of  the 
14th  (Life  and  Coronation  of  the  Virgin,  in  the  second  room)  and  I5th 
cent.,  and  fine  specimens  of  velvet,  gold-brocade,  and  damask  of  the  16th, 
17th,  and  18th  centuries.  —  Then  come  the  Arazzi,  the  produce  of  the 
Florentine  tapestry-factory  which  was  founded  in  1545  under  Cosimo  I.  by 
Niculaus  Karcher  and  Jan  van  Roost  of  Brussels,  and  which  prospered  and 
fell  with  the  house  of  Medici.  The  word  Arazzi,  like  the  English  Arras, 
is  derived  from  the  town  of  Arras  in  French  Flanders,  one  of  the  most 
celebrated  ancient  seats  ol  tapestry-manufacture;  the  French  term  'Gobe- 
lins'' is  elsewhere  more  general.  The  cartoons  for  the  tapestry  exhibited 
here  were  designed  in  the  16t.h  cent,  by  Bronzino  (Nos.  117,  122,  123),  Sal- 
viati  fNos.  HI,  118-120),  Bacchiacca  (Nos.  13-19,  20-23),  Allori  (Nos.  26,  28, 
33,  49),  Stradano,  Pocce.lti,  and  others.  The  imitation  of  painting  in  tapestry 
was  carried  to  an  extreme  in  the  17th  cent,  by  Pierre  Fevire  of  Paris,  in 
whose  hands  the  decorative  character  of  the  produce  deteriorated  (Nos.  24, 
25,  31,  37,  39-43,  92,  99,  112-116,  124,  History  of  Esther,  75-80).  The  manu- 
factory was  closed  in  1737.  —  Here  also  are  some  German  tapestries  of  the 
15th  cent.  (David  and  Bathsheba,  60-65),  and  some  from  the  Netherlands 
of  the  15th  (No.  66)  and  16th  cent.  (Nos.  71-74,  88-90,  Henri  III  and  Ca- 
tharine de'  Medici,  67-69). 

In  the  same  street,  at  the  corner  of  the  Via  di  Pinti,  is  situated 
the  church  of  Santa  Maria  Maddaleua  de'  Fazzi  (PI.  H,  5),  The 
graceful  anterior  court  was  designed  hy  Oiuliano  da  Sangallo 
(1479)  :  the  columns  were  modelled  after  an  antique  capital  found 
at  Fiesole.  In  the  2nd  chapel,  on  the  left,  is  a  Coronation  of  the 
Virgin  by  Cosimo  i?osseZii  (1505);  the  richly  decorated  chapel  of 
the  high-altar  is  by  Ciro  Ferri,  the  altar-piece  by  Luca  Oiordano. 
—  In  the  Via  della  Colonna,  No.  1  (third  door),  is  the  entrance  to 
the  chapter-house  of  the  monastery  belonging  to  the  church  (now 
carabiniere  barracks)  with  a  large  *Fresco  hy  Perugino  representing 
the  Crucifixion,  with  SS.  Mary  and  Bernard  and  SS.  John  and  Bene- 
dict at  the  sides  (ca.  1495).    Adm.,  see  p.  464. 

In  the  Via  di  Pinti,  No.  62,  farther  to  the  N.E.,  is  the  Palazzo 
Panciattchi-Ximenes  (P\.  H,  I,  4),  erected  hy  Giuliano  da  Sangallo  in 
1490,  and  enlarged  in  1620  hy  Gherardo  Silvani. 

The  Via  di  Pinti  ends  at  the  Porta  a  Pinti  (PI.  I,  4),  just  out- 
side of  which  is  the  Protestant  Cemetery,  with  the  graves  of  Mrs. 
E.  B.  Browning,  Mrs.  Duveneck,  W.  8.  Landor,  Arthur  Clough, 
Theodore  Parker,  etc. 

For  the  neighbouring  Piazza  d'Azeglio ,  see  p.  509.  —  To  the 
Piazza  Santa  Maria  Nuova  and  the  Piazza  del  Duomo  by  the  Via 
della  Pergola,  see  p.  483. 


e.  Via  Cavour.  FLORENCE.  6d.  Route.   517 

e.  From  the  Piazza  del  Duomo  to  the  Piazza  San  Marco  and 
Piazza  dell'  Indipendenza  by  the  Via  Cavour. 

The  Via  db'  Maetelli  (PI.  F,  4),  beginning  at  the  Baptistery, 
and  its  continuation,  the  wide  Via  Cavoue  (PI.  F-H,  3,  2;  formerly 
Via  L(vrga\  together  form  the  most  important  thoroughfare  in  the 
N.  part  of  the  city. 

At  the  corner  of  the  Via  de'  Martelli  and  the  Via  de'  Gori  rises 
the  church  of  San  Giovannino  degli  Scolopi  [i.e.  of  the  Padri  delle 
Scuole  Pie;  PL  F,  4),  erected  in  1352,  remodelled  after  1579  by 
B.  Ammanati,  completed  in  1661  'by  Alfonso  Parigi,  and  in  the  pos- 
session of  the  Jesuits  from  1557  to  1775.  The  church  contains  pic- 
tures by  Allori,  Franc.  Currado,  etc. 

Opposite,  to  the  right,  at  the  beginning  of  the  Via  Cavour,  is 
the  Palazzo  Pancidtichi  (PI.  F,  4),  built  about  1700  by  Carlo  Fontana, 
with  a  relief  of  the  Madonna  by  besiderio  da  Settignano  at  the  corner. 
The  adjoining  building  on  the  left,  which  has  been  in  possess- 
ion of  the  government  since  1814  and  is  now  occupied  by  the 
prefecture,  is  the  old  palace  of  the  Medici,  generally  called 
after  its  later  owners  the  *Palazzo  Eiccardi  (PL  F,  3,  4).  It  was 
erected  about  1435  under  Cosimo  Pater  Patrise  by  Michelozzo.  who 
here  introduced  the  practice  of  tapering  the  rustica  in  the  dififerent 
stories.  The  unsymmetrical  fa(;ade  is  surmounted  by  a  rich  and 
heavy  cornice.  Here  Cosimo's  grandson  Lorenzo  il  Magnifico  was 
born  on  Jan.  1st,  1449,  and  here  he  maintained  his  brilliant  estab- 
lishment. Lorenzo's  sons  Piero,  Giovanni,  and  Giuliano  also  first 
saw  the  light  within  its  walls.  Giulio,  Ippolito,  Alessandro,  and 
Cosimo  L  de' Medici  (the  last  till  1540;  comp.  pp.  472,  638) 
subsequently  resided  here,  and  the  family  continued  in  possession 
of  the  palace  until  it  was  sold  in  1659  by  the  Grand-Duke  Ferdi- 
nand II.  to  the  Riceardi  family,  who  extended  it  considerably  to  the 
N.  in  1714,  enclosing  within  its  precincts  the  Strada  del  Traditore, 
where  Duke  Alessandro  was  assassinated  by  Lorenzino  de'  Medici 
in  1537.  The  original  structure,  however,  is  still  in  great  part 
recognisable,  particularly  its  beautiful  court  and  the  staircases. 

An  imposing  gateway  leads  to  the  Codrt,  surrounded  by  arcades,  ancient 
busts,  sarcophagi,  Greek  and  Latin  inscriptions  from  Rome,  etc.  The  sar- 
cophagus in  the  S.W.  corner,  with  the  representation  of  the  Calydonian 
Hunt,  formerly  contained  the  remains  of  Guccio  de'  Bledici,  an  ancestor 
of  the  family  who  was  Gonfaloniere  in  1299.  The  relief-medallions  above 
the  arcades,  copied  from  antique  gems,  are  by  Donatella. 

The  first  staircase  on  the  N.  (right)  side  leads  to  the  private  Chapel 
of  the  Medici  (adm.,  see  p.  464),  embellished  with  "Frescoes  by  Benozzo 
Oozzoli;  painted  about  1459-63,  representing  the  journey  of  the  Magi,  with 
numerous  portraits  of  the  Medici.  Benoz/.o  'shaped  the  various  episodes 
(if  a  pompous  progress  into  one  long  series  filling  the  walls  of  the  body 
of  the  building.  The  kings,  in  gorgeous  state,  are  accompanied  on  their 
march  by  knights  and  pages  in  sumptuous  dresses,  by  hunters  and  fi)llci\ver.<< 
of  all  kinds,  and  the  spectator  glances  by  turns  at  the  forms  of  crowned 
kings,  of  squires,  and  attendants  with  hunting  leopards,  all  winding  their 
solemn  way  through  a  rich  landscape  country".  —  C.  &  C.  —  On  the 
window-wails   are   charming   'Angels   in   the   garden   of  heaven,    of  ad- 


518    Route  64.     FLORENCE,      e.   From  the  Piaz'^a  del  Duomo 

mirable  design.  —  The  alfar-piece,  an  Adoration  of  the  Magi  by  Fra  Filippo 
Lippi,  is  now  in  Berlin,  but  there  is  a  reproduction  of  it  in  Sant'  Apollonia 
(p.  525). 

The  second  staircase  on  the  right  ('Ingresso  agli  Ufflzi  della  Reale 
Prefettura')  leads  to  the  Gallery  fadm.,  sec  p.  464),  a  snmptuoTis  apart- 
ment, with  a  ceiling-painting  by  Lucn  Oiorclano,  representing  the  Medici 
as  gods  of  light  among  the  deities  of  Olympus  (16S4). 

At  tlie  back  of  the  palace,  Via  de'  Ginori  4,  is  the  entrance  to 
the  BiBLiOTECA  RiccAKDiANA ,  founded  ahout  1600  by  Riccardo 
Riccardi ,  and  purchased  by  the  state  in  1812.  The  collection 
comprises  abont  30,000  vols,  and  3800  MSS.,  including  a  Virgil 
illustrated  with  miniatures  by  Ben.  Gozzoli  and  several  MSS.  by 
Dante,  Petrarch,  MachiavcUi,   Galileo,  etc.    Admission,  see  p.  464. 

The  Palazzo  Gj'noH  (PI. F,3),  Via  de'GJinori  13,  was  built  by  Bacciod'Agnolo. 

Farther  on  in  the  Via  Cavour  (No.  45 ;  left)  is  the  Biblioteca 
Marucelliana  [PI.  G,  3;  adm.,  see  p.  464),  founded  in  1703  by 
Francesco  Marucelli,  containing  ca.  150,000  vols,  (numerous  works 
on  the  history  of  art),  1500  MSS,,  and  a  fine  collection  of  engravings. 

Farther  on,  to  the  right,  opens  the  Piazza  San  Marco  (PI.  G,  3), 
which  is  adorned  with  a  bronze  statue  of  General  Fanti  (d.  1861), 
by  Pio  Fedi  (1872).  —  On  the  N.E.  side  of  this  piazza  rises  San 
Marco,  an  old  monastic  church,  foundedin  1290,  several  times  rebuilt 
(once  by  Giov.  da  Bologna),  and  provided  with  a  facade  in  1780. 

Interior.  Entrance-wall :  Pietro  CavaHini  (a  pupil  of  Giotto),  The 
Annunciation,  a  fresco;  over  the  central  door,  Qiotto,  Crucifixion.  Right 
Wall,  2nd  altar:  'Madonna  with  six  saints,  by  Fra  Bartolomeo  (1509;  in- 
jured); 3rd  altar:  Early- Christian  mosaic  from  Rome  (modernized).  —  In 
the  Sacristy  (erected  by  Michelozzo,  1437)  a  recumbent  statue  of  St.  An- 
toninus (p.  519)  in  bronze,  by  Portigiani.  —  In  the  left  transept,  the  Chapel 
OF  St.  Antonind.s  ;  architecture  (ca.  158'-i)  and  statue  of  the  saint  (above 
the  entrance-arch)  by  Giovanni  da  Bologna ;  the  six  statues  of  other  saints 
are  by  Pietro  Francavilla.  Frescoes,  representing  the  burial  of  the  saint, 
by  Passignano.  —  This  church  contains  (between  the  2nd  and  3rd  altars 
of  the  left  wall")  the  tombs  of  the  celebrated  scholar  Giovanni  Pico  della 
Mirandola  (p.  376),  who  died  in  1494  at  the  age  of  31,  and  of  the  learned 
poet  Angelo  Poliziano  (1454-94;  p.  470). 

Adjacent  to  the  church  is  the  entrance  to  the  once  far-famed 
*Monastery  of  San  Marco  (PI.  G,  3),  suppressed  in  1867,  and  now 
restored  and  fitted  up  as  the  Museo  diSan  Marco  (adm.,  see  p.  464; 
catalogue,  1869,  I'/o  fr.).  The  building  was  originally  occupied 
by  'Silvestrine'  monks,  hut  was  transferred  under  Cosimo  the  Elder 
to  the  Dominicans,  who  were  favoured  by  the  Medici.  In  1437-43 
it  was  restored  in  a  handsome  style  from  designs  by  Michelozzo, 
and  shortly  afterwards  it  was  decorated  by  jPra  Giovanni  Angelica 
da  Fiesole  { 1387-1455)  with  those  charming  *Frescoes  which  to  this 
day  are  unrivalled  in  their  portrayal  of  profound  and  devoted  piety. 
The  painter  Fra  Bartolomeo  delln  Porta  (1475-1517)  was  a  monk 
in  this  monastery  from  1500,  and  the  powerful  preacher  Girolamo 
Savonarola  (burned  at  the  stake  in  1498,  see  p.  468)  also  once 
lived  here. 

The  First  Cloisters,  which  are  entered  immediately  from  the  street, 
contain  a  fresco  by  PocceHi  in  the  5th  lunette  to  the  right  of  the  entrance. 


to  Piazza  dell'  Indipendenza.     FLORENCE.        64.  Route.    519 

showing  the  original  facade  of  the  cathedral  (comp.  p.  479),  and  four 
other  lunettes  with  frescoes  hy  Fra  Angelica:  to  the  left  of  Poccetti's 
fresco,  over  the  entrance  to  the  'foresteria',  or  apartments  devoted  to 
hospitality,  "Christ  as  a  pilgrim  v?elcomed  by  two  Dominican  monks  ('No 
scene  more  true,  more  noble,  or  more  exquisitely  rendered  than  this, 
can  be  imagined' ;  C.  <t  C.) ;  over  the  door  of  the  refectory ,  Christ 
with  the  wound  -  prints ,  the  head  of  elevated  beauty  and  divine  gen- 
tleness-, over  the  door  to  the  chapter-house  (see  below),  St.  Dominic  with 
the  scourge  of  nine  thongs  (damaged);  farther  on,  over  the  door  to  the 
sacristy,  St.  Peter  the  Martyr,  indicating  the  rule  of  silence  peculiar  to 
the  order  by  placing  his  finger  on  his  lips.  To  the  right  of  the  la;t  is 
a  fifth  fresco  by  Fra  Angelico,  Christ  on  the  Cross,  with  St.  Dominic.  — 
The  second  door  in  the  wall  opposite  the  entrance  leads  to  the  Chaptek 
House,  which  contains  a  large  "Crucifixion  (Christ  between  the  thieves), 
surrounded  by  a  group  of  twenty  saints,  all  lifesize,  with  busts  of  Domi- 
nicans below,  by  Fra  Angelico.  The  sympathetic  grief  of  the  saints  is  most 
poignantly  expressed. 

The  door  in  the  E.  corner  of  the  cloisters  leads  to  a  vestibule,  contain- 
ing photographs  of  Fra  Angelico's  paintings,  beyond  which  is  the  Great 
Rkfectort.  The  back-wall  of  the  latter  is  adorned  with  the  so-called 
'Providenza  (the  brothers  and  St.  Dominic  seated  at  a  table  and  fed  by 
two  angels),  and  a  Crucifixion  by  Oiov.  Ant.  Sogliani. 

The  door  to  the  left  of  the  chapter-house  leads  to  the  Second  Cloisters, 
which,  with  the  rooms  on  the  right,  accommodate  the  architectural  frag- 
ments (chiefly  mediaeval),  coats-of-arms,  inscriptions,  sculptures,  and  fres- 
coes removed  from  the  demolished  palazzi  of  the  Centro  (p.  471).  —  To  the 
right  of  the  passage  is  the  Small  Refectort,  containing  a  Last  Supper  by 
Dom.   Qhirlandoio.  —  Adjoining  is   the  staircase  to  the  upper  floor. 

Upper  Floor.  The  corridors  and  the  adjacent  cells  are  adorned  with 
a  succession  of  frescoes  by  Fra  Angelica  and  his  pupils.  In  the  1st  Cor- 
ridor, immediately  opposite  the  staircase,  the  Annunciation,  a  work  of 
very  tender  feeling;  to  the  left  of  the  entrance,  Christ  on  the  Cross,  with 
St.  Dominic.  —  In  the  Cells:  3rd  (to  the  left),  Annunciation;  6th,  Trans- 
figuration; opposite,  in  the  corridor,  Madonna  enthroned,  with  saints; 
8.  The  two  Maries  at  the  Sepulchre:  9.  'Coronation  of  the  Virgin,  whose 
humble  joy  is  beautifully  depicted.  The  Last  Cells  in  the  adjoining  cor- 
ridor were  once  occupied  by  Savonarola.  In  No.  12  are  a  bronze  bust  of 
Savonarola  by  Dupri,  a  copy  of  an  old  picture  representing  his  execu- 
tion (original  at  the  Palazzo  Corsini,  p.  531),  and  three  frescoes  by  Fra 
Barlolomeo  ■•  Two  Madonnas,  and,  on  the  left  wall,  Christ  as  a  pilgrim 
received  by  two  monks  (portraits  of  two  priors  of  the  monastery).  The 
bust  of  Girol.  Henivieni,  by  Giov.  Baslianini  (d.  1868),  is  a  deceptive  imi- 
tation of  Florentine  early-Renaissance  sculpture.  Cell  No.  13  contains  a 
portrait  of  Savonarola  by  Fra  Barlolomeo,  and  autographs,  No.  14  his 
crucifix.  —  We  now  return  to  the  staircase,  at  the  head  of  which  are  the 
cells  (No.  31)  of  Si.  Antonine  (Ant.  Pierozzi :  d.  1459),  Archbishop  of  Florence 
for  14  years.  —  Opposite  is  the  Library,  the  first  public  library  in  Italy, 
built  by  Miehelozzo  in  1141  for  Cosirao  de'  Medici,  who  presented  it  with 
400  MSS.  collected  by  Nicculo  Niccoli.  The  glass-cases  in  the  middle  con- 
tain ritual  books,  with  miniatures  by  Fra  Benedetto,  the  brother  of  Ange- 
lico, and  other  artists  of  the  15th  century.  —  On  the  other  side  of  this 
corridor  are  Two  Cells  (Nos.  33,  34),  near  those  of  St.  Antonine,  and 
containing  three  small  easel  pictures  by  Fra  Angelico  ("Madonna  delle 
Stelle,  "Coronation  of  the  Virgin,  and  "Adoration  of  the  Magi  with  the 
Annunciation).  The  Last  Cell  on  the  right,  embellished  with  a  fine 
Adoration  of  the  Magi,  al  fresco,  by  Fra  Angelico,  is  said  to  be  that  which 
Cosimo  Pater  Patria;  caused  to  be  fitted  up  for  himself,  and  where  he 
received  the  Abbot  Antoninus  and  Fra  Angelico;  it  contains  his  portrait 
by  Pontormo  and  a  terracotta  bust  of  St.  Antonine. 

The  Accademia  della  Crusca,  fonnded  in  1582  to  maintain  the 
purity  of  the  Italian  language  ,  occupies  part  of  the  monastery.   Its 


520   Route  64.  FLORENCE.  e.  Academy. 

great  dictionary  of  the  language,  begun  in  1843,  is  still  only  about 
half  finished. 

On  the  S.E.  side  of  the  piazza,  at  the  corner  of  the  Via  della 
Sapienza  (leading  to  the  Piazza  dell'  Annunzlata,  p.  510),  lies  the 
Reale  Istituto  di  Studi  Superior i  (entr.  Piazza  S.  Marco  2),  the  first 
floor  of  which  contains  the  Indian  Museum,  founded  in  1886  (adm., 
see  p.  464;  catalogue  60  c),  and  Mineralogical  and  Geological  Col- 
lections. —  This  building  is  adjoined  on  the  N.E.  by  the  Botanical 
Oarden  (PI.  H,  3;  entr.,  Via  Lamarmora  6),  founded  by  Cosimo  I. 
in  1543,  usually  called  the  Oiardino  de'  Semplici. 

The  quiet  Via  Ricasoli  leads  from  the  S.  angle  of  the  Piazza  di 
S.  Marco  to  the  Piazza  del  Duomo.  No.  52  in  this  street  is  the 
entrance  to  the  Accademia  di  Belle  Arti  (PI.  G,  3;  very  cold  in 
winter),  containing  the  *Gaxlekia  Antica  b  Moderna,  founded  in 
1783.  Admission,  see  p.  464;  catalogue  (1901),  by  the  curator 
E.  Pieraccini,  2  fr. ;  general  director,  Dr.  Corr.  Ricci  (p.  484).  The 
building  was  originally  the  Ospedale  di  San  Matteo.  —  The  collection 
of  ancient  masters  contains  few  pictures  to  strike  the  eye  or  imagi- 
nation of  the  amateur,  but  it  is  a  most  important  collection  for 
students  of  the  development  of  Italian  (especially  Florentine)  art 
during  the  14-16th  centuries.  We  have  the  advantage  here  of  being 
able  to  concentrate  our  attention  on  the  characteristic  features  of 
the  Tuscan  and  Umbrian  schools,  to  the  productions  of  which  this 
collection  is  restricted.  The  small  pictures  of  Oiotto  (Room  I, 
No.  103,  etc.)  and  Fra  Angelico's  Life  of  Christ  (Room  VII,  No.  233) 
are  merely  to  be  regarded  as  supplementary  to  the  much  more 
important  labours  of  these  two  great  masters  in  the  department 
of  fresco-painting;  the  Last  Judgment  (Room  VII,  No.  266)  and  the 
Descent  from  the  Cross  (Room  I,  No.  166),  however,  afford  a  good 
idea  of  Fra  Angelico's  works.  The  excellent  narrative  -  painter 
Francesco  Pesellino  (Room  V,  No.  72)  appears  here  as  the  heir  of 
Masaccio ,  who  is  by  no  means  well  represented  in  this  gallery 
(Room  V,  No.  70).  Filippo  Lippfs  Coronation  of  the  Virgin  (Room  IV, 
No.  62),  with  a  portrait  of  himself,  belongs  to  his  later  period.  In 
this  work  the  master  obviously  aims  at  sensuous  beauty  in  Ms 
female  forms ;  he  departs  from  the  strictly  ecclesiastical  style  and 
borrows  various  effects  from  the  province  of  sculpture.  Verrocchio^s 
Baptism  of  Christ  (Room  V,  No.  71),  which,  according  to  Vasari, 
was  finished  by  his  pupil  Leonardo  da  Vinci ,  betrays  a  certain 
crudity  in  the  figure  of  the  Baptist,  while  the  landscape  and  the 
two  angels  distantly  recall  Leonardo's  technical  skill  and  sense  of 
form.  Sandro  Botticelli's  Spring  (Room  V,  No.  80),  which  trans- 
ports us  to  the  realm  of  antique  myth,  is  the  most  popular  picture 
in  the  gallery,  owing  to  its  fairy-like  charm.  Domenico  Ghirlandaio 
was  thoroughly  conversant  with  traditional  forms,  and  with  their 
aid  he  has  been  enabled  to  produce  majestic  and  spirited  figures, 
and  to  unite  in  them  the  result  of  the  labour  of  two  generations. 


e.  Academy.  FLORENCE.  64.  Route.  521 

His  Madonna  aud  angels  (Boom  IV,  No.  66)  is  better  preserved 
tlian  the  Adoration  of  the  Shepherds  (Room  II,  No.  195).  A  com- 
parison of  Ghirlandaio's  simplicity  of  style ,  the  ontcome  of  a 
mature  imagination,  with  the  elahorate  and  exaggerated  manner 
of  many  old  masters,  is  most  instructive.  Among  Fra  Bartolomeo's 
pictures,  Mary  appearing  to  St.  Bernard  (Room  VI,  No.  97)  is  parti- 
cularly worthy  of  notice,  as  it  affords  an  insight  into  the  master's 
method  of  painting.  Mariotto  Albertinelli  is  well  represented  .by  a 
Trinity  (Room  IV,  No.  63);  his  Annunciation  (Room  II,  No.  169) 
is  no  longer  in  its  original  condition. 

This  gallery  is  important  also  to  the  student  of  Umbrian  art  in 
the  16th  century.  It  possesses  one  of  the  chief  works  of  Oentile  da 
Fabriano,  an  Umbrian  master,  closely  allied  to  Fra  Angelico  in  his 
modes  of  thought  (Adoration  of  the  Magi ;  Room  I,  No.  165).  This 
work  affords  distinct  evidence  of  the  unity  of  sentiment  which 
existed  between  the  Schools  of  the  North  and  South  in  the  15th  cent., 
notwithstanding  their  external  independence.  Ptrugino's  pictures 
are  greatly  above  the  average  merit  of  his  works :  in  his  PietS, 
(Room  IV,  No.  56)  an  admirable  individuality  of  character  is  ex- 
hibited ;  his  skill  as  a  colourist  is  shown  in  his  Mount  of  Olives 
(63)  ;  and  his  Assumption  (57),  admirable  both  in  composition 
and  execution,  reveals  him  at  the  zenith  of  his  power. 

From  the  Vestibule,  in  which  is  the  ticket-office,  we  proceed 
straight  on  to  the  Domed  Room,  the  first  portion  of  which  is  hung 
with  fine  Flanders  tapestry  (scenes  from  the  Creation),  in  the  style 
of  Barend  van  Orley  (d.  1541). 

Beneath  the  cupola  at  the  other  end  of  the  room  stands  the 
celebrated  *David  ('II  Gigante')  by  Michael  Angela,  shaped  by  the 
youthful  artist  in  1501-1503  from  a  gigantic  block  of  marble, 
which  had  been  abandoned  as  spoiled.  The  statue  formerly  stood 
in  front  of  the  Palazzo  Vecchio  (p.  472). 

'No  plastic  work  of  Michael  Angelo  earned  such  a  harvest  of  laudation 
among  his  contemporaries  as  the  'David'.  Vasari  sings  the  praises  of  the 
miracle-worker,  who  raised  the  dead,  spoiled  block  to  new  life,  and 
assures  us  that  Michael  Angelo's  David  is  vastly  superior  to  all  ancient  and 
modern  statues  whatever.  The  boldness  and  assured  touch  of  the  great 
sculptor  certainly  awake  our  admiring  astonishment.  Not  only  the  sub- 
ject was  prescribed  to  him,  but  also  its  size  and  proportions,  added  to 
which  he  was  confined  to  the  narrowest  limits  for  the  development  of  the 
attitude  and  motion.  Yet  this  constraint  is  not  perceptible,  and  the  history 
of  the  statue  could  by  no  means  be  divined  from  its  appearance.  Out- 
wardly the  demeanour  of  the  young  hero  is  composed  and  quiet;  but 
each  limb  is  animated  by  a  common  impulse  from  within,  and  the  whole 
body  is  braced  up  for  one  action.  The  raised  left  arm  holds  the  sling  in 
readiness ,  the  right  hand  hanging  at  his  side  holds  the  handle  of  the 
sling;  next  instant  he  will  make  the  attack\  —  Springer. 

This  part  of  the  room  contains  also  a  collection  of  casts  of  the 
great  master's  works,  and  photographs  of  his  drawings  (right  transept) 
and  of  the  Sistine  frescoes  (left  transept).  —  The  steps  at  the  end 
of  the  left  transept  lead  to  the  — 


522    Rotite  6d.  FLORENCE.  e.   Academy. 

Rooms  of  the  Tuscan  Schooi-  (I-IIl).  —  I.  Room,  Works  of  the 
13-15th  centuries.  Left  wall:  102.  Cimabue,  Madonna  and  angels 
(13tli  cent.).  [On  the  wall  behind  this  picture  is  a  fresco  (shown 
by  the  custodian  on  request),  hy  Andrea  del  Sarto,  representing  the 
Care  of  the  sick  in  the  Ospedale  di  San  Matteo  (see  p.  520).]  Then, 
103.  Oiotto ,  Madonna  with  angels;  School  of  Giotto,  104-115. 
Scenes  from  the  life  of  Christ,  117-126.  Scenes  from  the  life  of 
St.  Francis;  127.  Acjnolo  Onddi,  Madonna  enthroned,  with  saints; 
*Ambrogio  Lorenzetti,  134.  Presentation  in  the  Temple  (1342),  132, 
136.  Four  scenes  from  the  life  of  St.  Nicholas;  147.  Florentine 
School  (15th  cent.).  Portion  of  a  chest,  with  the  representation  of  a 
wedding  (Adimari-Rioasoli),  of  historical  interest  to  art-students. 
Adjacent,  Sandro  Botticelli,  161.  Daughter  of  Herodias  with  the  head 
of  the  Baptist,  162.  Vision  of  St.  Augustine,  158.  Death  of  St. 
Augustine,  157.  Resurrection  (these  four  predelle).  Opposite,  164. 
Luca  Signer elli.  Madonna  with  saints;  below,  predella  .with  Last 
Supper,  the  Mount  of  Olives,  and  the  Scourging  of  Christ.  On  easels : 
*165.  Gentile  da  Fabriano,  Adoration  of  the  Magi  (the  painter's 
masterpiece,  1423),  with  pleasing  episodes  in  the  background  (the 
predella.  Presentation  in  the  Temple,  is  here  replaced  by  a  modern 
copy,  the  original  being  in  the  Louvre);  *166.  Fra  Angelica,  De- 
scent from  the  Cross.  —  II.  Room.  Works  of  the  16-16th  centuries. 
To  the  left:  168.  Fra  Bartolomeo,  Christ  and  saints  (frescoes);  the 
monk's  head  in  the  centre  is  especially  fine.  169.  Al.  Baldovinetti, 
The  Trinity;  Albertinelli,  169.  Annunciation,  167.  Madonna  en- 
throned, with  four  saints  (1510);  between  these,  172.  Fra  Bartolo- 
meo, Savonarola  as  St.  Peter  Martyr  (copy);  183.  Pontormo,  Pieta; 
179.  Angelo  Bronzino,  Portrait  of  Duke  Cosimo  I.  In  the  middle: 
*i95.  Dom.  Ghirlandaio,  Adoration  of  the  Shepherds  (1486).  — 
III.  Room.  Works  of  the  16-18th  centuries.  To  the  left:  198.  Al. 
Allori,  Annunciation;  207.  Cristof.  Allori,  Adoration  of  the  Magi. 

We  now  return  to  the  Domed  Room  and  pass  through  the  first 
door  to  the  right  into  the  — 

Room  of  Perxjqino  (R.  IV).  To  the  left  of  the  entrance:  Pietro 
Perugino,  *57.  Assumption  of  the  Virgin,  with  SS.  Michael,  Gio- 
vanni Gualberto,  Dominic,  and  Bernard,  brought  from  Vallombrosa 
(1600)  ;  *56.  Pietk  (early  work);  *241,  242.  Portraits  of  two  monks 
of  Vallombrosa.  55.  Fra  Filippo  Lippi,  Madonna  with  four  saints; 
53.  Perugino,  Christ  on  the  Mt.  of  Olives;  opposite,  *66.  Dom. 
Ghirlandaio,  Madonna  with  angels  and  four  saints,  with  predella 
(No.  67;  studio-piece);  65.  Luca  Signorelli,  Crucifixion  and  Mary 
Magdalen  (striking  in  its  expression  of  absolute  despair) ;  *62.  Fra 
Filippo  Lippi,  Coronation  of  the  Virgin,  one  of  the  master's  best 
works ;  the  monk  below  to  the  right,  with  the  inscription  'is  per- 
fecit  opus',  is  a  portrait  of  the  painter  himself.  63.  Albertinelli, 
Trinity  (1500);  *61.  Andrea  del  Sarto,  Two  angels.  —  The  Peru- 
gino Room  is  adjoined  on  the  right  and  left  by  the  — 


e.  Academy.  FLORENCE.  64.  Route.    523 

BoxncBLLi  Rooms  (V,  VI).  —  Y.  Room.  To  the  right  of  the 
entrance,  70.  Masaccio.,  St.  Anna  with  the  Virgin  and  Child;  *7i. 
Andrea  Verrocchio,  Baptism  of  Christ  (mmh  injured),  said  to  have 
been  finished  by  Leonardo  da  Vinci;  72.  Franc.  Pesellino,  Predella 
with  the  Adoration  of  the  Holy  Child,  the  Beheading  of  SS.  Cosmas 
and  Damianus,  and  Miracles  of  St.  Anthony ;  73.  Sandro  Botti- 
celli,  Coronation  of  the  Virgin,  with  predella  (No.  74);  Andrea 
del  Sarto ,  76.  Four  Saints,  with  predella  (No.  77)  representing 
scenes  from  their  lives,  belonging  to  No.  61  (p.  52*2),  75.  The  Risen 
Christ  (fresco) ;  78.  Perugino,  Crnciflxion;  79.  Fra  Fillppo  Lippi, 
Adoration  of  the  Holy  Child.  **80.  Sandro  Botiicelli,  Allegorical 
representation  of  Spring:  on  the  left,  Mercury  and  the  Graces, 
Venus  and  Cupid  with  the  bow  in  the  middle,  and  on  the  right, 
the  Goddess  of  Spring  and  Flora  (Chloris),  accompanied  by  Zephyr, 
the  spring-wind.     82.   Fra  Filippo  Lippi^  Adoration  of  the  Child. 

—  VI.  Room.  To  the  right  of  the  entrance  :  98.  Descent  from  the 
Cross,  the  design  and  upper  half  by  Filippino  Lippi,  the  lower  half 
by  Pietro  Perugino;  opposite,  84.  Franc.  Bolticini  (?;  here  ascribed 
to  Sandro  Botticelli),  Tobias  with  the  three  angels;  85.  Botticelli, 
Madonna  enthroned,  with  angels  and  six  saints;  *86.  Fra  Filippo 
Lippi,  Predella  with  scenes  from  the  legends  of  SS.  Frigidianus 
and  Augustine;  88.  Botticelli,  Madonna  with  six  saints;  92.  Lor. 
di  Credi,  Adoration  of  the  Holy  Child;  91,  93.  Filippino  Lippi, 
St.  Jerome  and  John  the  Baptist ;  94.  Lor.  di  Credi,  Adoration  of 
the  Holy  Child;  97.  Fra  Bartolomeo,  Apparition  of  the  Virgin  to 
St.  Bernard,  a  youthful  work  with  a  beautiful  landscape  (injured). 

—  "We  now  return  to  tlie  front  part  of  the  Domed  Room  and  pass 
through  the  door  to  the  left  into  the  — 

Room  of  the  Beato  Angelico  (R.  VII).  Right:  Fra  Angelica, 
246.  Pieta;  243.  History  of  SS.  Cosmas  and  Damian;  233-237, 
252-254.  Life  of  Christ  in  8  pictures  and  35  sections  (executed 
with  the  aid  of  other  painters;  No.  233  an  early  work  of  Alessio 
Baldorinetti);  in  the  midst  of  them,  250.  Crucifixion,  with  Mary 
and  John  ;  251.  Coronation  of  the  Virgin  ;  above,  227,  265.  Madonna 
with  saints;  beside  the  door,  to  the  left,  *266.  Last  Judgment  (the 
representation  of  the  blessed,  to  the  left,  full  of  grace- and  feeling). 

—  Adjoining  are  the  — 

Rooms  of  the  Early  Florentine  School  (VIII  and  IX),  with 
works  of  the  14th  and  16th  centuries.  —  VIII.  Room.  263,  264. 
Fra  Filippo  Lippi,  Annunciation,  with  SS.  John  the  Baptist  and 
Anthony  the  Hermit.  —  IX.  Room.  9.  Pacino  di  Bonayuida,  Cruci- 
fixion (1310). 

A  8tairca.se  in  the  vcsfibule  ascend.s  to  the  first  floor,  on  which  is  the 
uuimportaat  Gallekt  of  Modkkn  Pictdkes.  —  From  the  anteroom  we 
tnrn  to  the  left  into  the  1st  R. :  10.  Franc.  Hayez,  The  two  Fo.scari;  15. 
P.  Beiivenud,  Hector  chiding  Paris;  19.  Hod.  Morgari,  Death  of  Raphael; 
25.  Cassioli,  Battle  of  Legnano.  —  2nd  R. :  39.  Vtsi,  Expulsion  of  the  Duke 
(if  Athens  from  Florence;  53.  Ademollo,  Battle  of  Solferino  in  1859.  —  3rd  R.: 
70.  Castagnola,   Filippo  Lippi   and   the   nun  Buti;   82.  Beztuoli,   Entry 


524   Route  64.  FLORENCE,     e.  Chiostro  dello  Scalto. 

Charles  VIII.  of  France  into  Florence;  88.  Saba/elli,  Murder  of  Buondel- 
monte.  —  4th  R. :  107-113.  Signorini,  Popular  festival  at  Florence.  —  6th  E. : 
122.  Fattori,  Episode  after  the  battle  of  Magenta.  —  6th  R. :  161.  Oiovacchino 
Toma,  Shower  of  ashes  at  Naples ;  148.  Fattori,  John  the  Baptist  before 
Herod. 

No.  54  in  the  Via  Eicasoli  is  the  entrance  to  the  Coubt  of  the 
Academy,  where  a  statue  of  St.  Matthew,  begun  hy  Michael  Angela, 
as  one  of  the  Twelve  Apostles  he  was  to  supply  for  the  cathedral 
(1503),  is  preserved  by  the  rear-wall. 

The  Academy  also  harbours  the  Conservatorium  of  Music  (Reals 
Jslituto  Musicale;  entr.  Via  RicasoliSO),  which  possesses  an  in- 
teresting collection  of  musical  instruments  (Museo  degli  Strumenti). 
Adm.  see  p.  464. 

The  same  building  (entrance  in  the  Via  degli  Alfaui,  No.  82) 
contains  the  celebrated  manufactury  of  Florentiue  Mosaics,  founded 
In  the  16th  cent,  under  Ferdinand  I.  and  transferred  from  the  Ufflzi 
to  this  site  in  1797.  To  the  left  is  the  Museo  dei  Lavori  in  Pietre  Dure 
(adm.,  see  p.  464),  containing  a  collection  of  the  materials  used 
(Rooms  1-3)  and  of  finished  works  (Rooms  4  &  5). 

At  the  corner  of  the  Via  Cavour  (p.  517)  and  the  Via  degli  Araz- 
zieri,  on  the  N.W.  side  of  the  Piazza  San  Marco,  stands  the  Casino 
di  Livia  (No.  59;  PI.  G,  3),  a  small  but  tasteful  structure  by  Bern. 
Fallini  (1776).  —  Adjacent  is  the  Casino  di  San  Mabco  or  Casino 
Mediceo  (No.  63 ;  PI.  G,  2,  3  ;  now  a  jury  court),  erected  in  1576  by 
Buontalenti,  on  the  site  of  the  famous  Medici  gardens,  where  Lo- 
renzo il  Magniflco  preserved  a  number  of  treasures  of  art  for  which 
no  place  could  be  found  in  the  neighbouring  palace  of  the  Medici 
(see  p.  517).  Bertoldo,  the  heir  and  pupil  of  Donatello,  was  ap- 
pointed keeper,  and  round  him  clustered  a  troop  of  eager  students. 
No  other  school  ever  attained  so  great  celebrity.  Leonardo  da 
Vinci,  Lorenzo  di  Credi,  Giovanni  Francesco  Rustici,  Andrea  San- 
sovino,  Pietro  Torrigiani,  and,  last  but  not  least,  Michael  Angelo, 
all  owe  their  artistic  education  to  the  garden  of  the  Medici.  Duke 
Cosimo  I.  afterwards  transferred  the  collection  to  the  gallery  of 
the  Ufflzi. 

A  little  farther  on  ,  Via  Cavour  69 ,  on  the  same  side  of  the 
street,  are  the  former  cloisters  of  the  barefooted  monks,  or  Recollets, 
the  Chiostro  dello  Scalzo  (PI.  G,  2),  an  elegant  court  of  the  early 
Renaissance,  surrounded  with  colonnades  and  adorned  with  ad- 
mirable *Frescoes  in  two  shades  of  brown  from  the  history  of  John 
the  Baptist,  with  allegorical  figures  and  rich  ornamentation,  by 
Andrea  del  Sarto  and  Franciahigio  (ca.  1515-26).    Adm.,  see  p.  464. 

On  the  right:  1.  Allegorical  figure  of  Faith  (ca.  1520);  2.  The  Angel 
appearing  to  Zacharias  (1523);  '6.  Visitation  (1524);  4.  Nativity  of  the  Baptist 
(1526;  with  the  noble  figure  of  Zacharias  writing);  5.  Departure  of  John 
from  his  father's  house,  and  6.  His  meeting  with  Christ  (these  two  by 
Franciahigio,  1518-19).  —  7.  Baptism  of  Christ  (the  earliest  and  weakest 
of  all);  8.  Allegorical  figure  of  Love  (c.  1520);  9.  Allegorical  figure  of  Justice 
(1515);   10.   John  preaching  in  the  desert  (1515?).  —  11.  John  baptising 


e.  Cenacolo  di  S.  Apollonia.     FLORENCE.  64.  Route.   525 

(1517);  12.  John  made  prisoner  (1517);  13.  Dance  of  Salome  (1522);  14.  Death 
of  John.  —  15.  His  head  brought  in  on  a  charger;  16.  Allegorical  figure 
of  Hope  (the  last  three,  painted  in  1523,  mark  the  zenith  of  Florentine 
monumental  painting).  —  It  is  interesting  to  remark  in  several  of  these 
frescoes  the  influence  of  Albert  Durer.  For  example,  in  the  Sermon  of  John, 
the  Pharisee  in  the  long  robe  and  the  woman  with  the  child  are  borrowed 
from  the  engravings  of  the  German  master. 

Proceeding  farther  to  the  N.E.,  we  traverse  the  Via  Salvestrina 
to  the  left,  and  enter  the  Via  San  Gallo,  No.  74  in  which,  a  corner 
house,  is  the  *Palazzo  Nencini,  formerly  the  Palazzo  Pandolfini 
(PI.  G,  H,  2),  erected  in  1516-20  hyGiov.  Franc.  daSangallo,  from 
the  designs  of  Raphael. 

A  little  to  the  N.W.  of  the  Piazza  San  Marco,  at  Via  Ventisette 
Aprile  A,  is  the  little  Cenacolo  di  Sant'  Apollonia  (PI.  G,  3),  the 
refectory  of  a  monastery  of  that  name  (founded  in  1339),  now  used 
as  a  military  store.  Since  1890  the  Cenacolo  has  contained  a  small 
picture-gallery  (adm.,  see  p.  464). 

In  the  Ante- Room  are  paintings  of  the  15th  cent.,  including  the  re- 
production of  Filippo  lAppfs  Adoration  of  the  Magi,  mentioned  at  p.  518. 
The  other  works  are  chiefly  from  the  studio  of  Dom.  Qhirlandaio.  —  The 
Main  Eoom  contains  several  works  by  Andrea  del  Castagno.  On  three  of 
the  walls  are  the  remains  of  a  series  of  frescoes  (ca.  1435),  transferred  to 
canvas  and  removed  from  the  Villa  Pandolfini  at  Legnaia.  These  consist 
of  nine  portrait-figures  (freely  retouched)  of  celebrated  men  and  women, 
presenting  impressive  ideal  types  of  the  commanding  personalities  of  the 
Renaissance :  Esther  (on  the  entrance-wall) ;  Filippo  Scolari,  surnamed 
Pippo  Spano,  i.e.  'Obergespan'  or  supreme  count  of  Temesvar,  the  conqueror 
of  the  Turks;  *Farinata  degli  Uberti,  leader  of  the  Ghibellines  (p.  467); 
Nic.  Acciaioli,  mentioned  on  p.  551 ;  the  Cumsean  Sibyl ;  Tomyris  ;  Dante  ; 
Petrarch  ;  and  Boccaccio.  On  the  wall  to  the  right  is  an  admirably  pre- 
served 'Fresco  of  the  Last  Supper,  with  figures  charged  with  life  (a  late 
work  of  the  master;  ca.  1450?);  above,  the  Crucifixion,  with  the  Entomb- 
ment on  the  right  and  the  Resurrection  (beardless  Christ)  on  the  left. 

The  Via  Ventisette  Aprile  ends  on  the  N.  W.  at  the  large  Piazza 
deir  Indipendenza  (PI.  F,  2;  omn. ,  see  p.  461),  which  is  em- 
bellished with  hronze  statues  of  the  statesmen  Bettino  Ricasoli 
(1809-80)  and  Vbaldino  Peruzzi  (1822-91 ;  Sindaco  of  Florence  from 
1864  to  1878),  hoth  erected  in  1897. 

The  Via  della  Fortezza  leads  hence  to  the  N.W.  to  the  Viale 
FUippo  Strozzi  (electric  tramway  No.  1,  p.  460),  and  to  the  Fortezza 
San  Giovanni  Battista,  now  the  Fortezza  da  Basso  (PI.  E,  F,  1),  built 
by  Duke  Alexander  in  1634-35  to  overawe  the  city.  —  From  the 
E,  side  of  the  fort  pleasant  public  gardens  extend  as  far  as  the 
picturesque  Via  Lungo  il  Mugnone  (PI.  F-H,  1). 

f.    From  the  Piazza  del  Dnomo  to  San  Lorenzo  and  Santa'^Maria 
Novella. 

From  the  entrance  of  the  busy  Via  de'  Cerretani,  which  leads 
straight  from  the  Piazza  del  Duomo  (p.  477)  to  Santa  Maria  Novella, 
the  Borgo  S.  Lorenzo  runs  to  the  right  to  the  Piazza  San  Loeenzo 
(PI.  F,  4).  To  the  left  in  this  square  is  the  church  of  S.  Lorenzo, 
and  at  its  N.  end,  near  the  Via  de'  Ginori  (p.  518),  is  a  statue  of 


526    Route  G 4.  FLORENCE.  f.  Church  of 

Qiovanni  delle  Bande  Nere  (p.  468),  by  Baccio  Bandinelli  (1540), 
on  a  pedestal  ('Base  di  San  Lorenzo'),  with  reliefs  referring  to 
Giovanni's  •victories. 

*Saii  Lorenzo  (PI.  E,  F,  3,  4),  founded  and  consecrated  by  St.  Am- 
brose in  394  and  restored  in  the  11th  cent.,  is  one  of  the  most 
ancient  churches  in  Italy.  In  1426  the  Medici  and  seven  other  fam- 
ilies began  a  complete  reconstruction  of  the  church  on  a  larger 
scale  from  the  designs  of  Filippo  Brunelleschi ,  who  restored  the 
form  of  the  early-Christian  basilica,  consisting  of  a  nave  and  aisles 
terminated  by  a  transept,  the  nave  being  covered  with  a  flat  ceiling, 
and  the  aisles  with  groined  vaulting.  He  then  added  low  chapels 
resembling  recesses  on  each  side.  Over  the  columns  (14  in  number, 
and  two  pillars)  he  replaced  the  ancient  architrave  which  had  been 
removed  in  the  middle  ages,  and  now  support  the  fine  projecting 
arches.  The  cupola,  which  rests  upon  the  cross  without  the  inter- 
position of  a  drum,  was  added  by  Brunelleschi's  successor,  Ant. 
Manetti  (d.  1460).  Tlie  high-altar  was  consecrated  in  1461.  The 
inner  wall  of  the  facade  is  by  Michael  Angelo,  who  also  added  the 
New  Sacristy  (p.  528)  and  the  Laurentian  Library.  His  design  for 
the  outside  of  the  facade  ( 1516)  was  unfortunately  never  executed, 
but  is  preserved  in  the  Galleria  Buonarroti  (p.  508).  The  com- 
pletion of  the  fa(;ade  has  long  been  contemplated. 

At  the  end  of  the  Right  Aisle  is  the  Monumeut  of  the  painter  Pietro 
Benvenuti  (d.  1844),  said  to  be  by  Thorvaldsen  (1).  —  Some  of  the  bronze 
bas-reliefs  on  the  two  pulpits  were  put  toy;ether  again  in  the  i7th  cent, 
and  completed  by  some  reliefs  in  wood  ;  they  represent  scenes  from  the 
Passion,  by  Donatello  Oate  work)  and  his  pupils  Berioldo  and  Bellano,  and 
show  a  grandly  passionate  style.  —  Bight  Transept,  on  the  altar  at  the 
end,  is  a  marble  Tabernacle  by  Desiderio  da  Settignano.  —  A  simple  in- 
scription beneath  the  dome,  at  the  foot  of  the  steps  leading  to  the  Choik, 
marks  the  tomb  of  Cosimo  the  Klder,  selected  by  himself,  in  which  he 
was  laid  on  Aug.  2nd,  1464,  according  to  his  own  request  without  any 
funereal  pomp.  The  slab  is  a  copy  of  the  original  by  Verrocchio.  The 
Signoria  honoured  Cosimo's  memory  by  passing  a  decree  which  gave  him 
the  title  of  'Pater  Patriae'.  Donatello  is  buried  in  the  same  vault.  —  In 
the  2nd  chapel  to  the  left  of  the  cjioir,  the  monument  of  a  Countess  Moltke 
Ferrari-Corbelli,  by  Diipri^  1864.  —  The  square  ''Old  Saceistt  (Sagrestia 
Vecchia),  to  the  left,  built  in  1421-28  by  Fil.  Brunelleschi,  is  one  of  the  earliest 
achievements  of  Renaissance  architecture.  It  is  covered  with  a  polygonal 
dome,  the  projection  with  the  altar  having  a  small  flat  dome.  The  ad- 
mirable plastic  decoration  (now  whitewashed)  is  hy  Donatello:  the  bronze 
*Doors  (beside  the  altar),  which  are  adorned  with  reliefs  in  the  classic 
style,  each  with  two  figures  of  saints  in  one  panel,  display  an  inexhaustible 
wealth  of  subjects.  Above  the  doors  are  two  saints,  beneath  a  frieze  of 
angels'  heads  ;  in  the  lunettes  are  the  Evangelists  and  on  the  spandrels 
are  scenes  from  the  life  of  John  the  Baptist  (all  in  stucco).  Donatello 
also  executed  the  beautiful  terracotta  bust  of  St.  Lawrence  on  the  en- 
trance-wall. The  marble  monument  of  Giovanni  d'Averardo  de'  Medici 
and  Piccarda  Bueri,  the  parents  of  Cosimo,  beneath  the  table  in  the  centre, 
are  by  Buggiano  (1429).  Beside  the  entrance  is  the  simple  and  tasteful 
"Monument  of  Piero  de'  Medici  (father  of  Lorenzo  il  Magnifico)  and  his 
brother  Giovanni,  by  Andrea  Verrocchio  (1472).  In  the  small  chamber,  to 
the  left,  is  a  fountain  also  by  Verrocchio .  —  In  the  2nd  chapel  beyond 
the  sacristy  (Capp.  Martelli)  are  a  Monument  to  Donatello,  by  R.  Romanelli 
(1896),  and  an  'Annunciation,  by  Fra  Filippo  Lippi.  —  In  the  Left  Aisle 


San  Lorento.  FLOKENCE.  04.  lioute.    527 

is  the  Martyrdom  of  St.  Lawrence,  a  large  fresco  by  Angela  Sromino.  Ad- 
jacent is  a  beautiful  cantoria  by  Donatella.  —  The  adjoining  door  leads  to 
the  cloisters  and  the  library  (see  below). 

The  simple  Cloisters,  immediately  adjoining  the  church,  with 
double  arcades  attributed  to  Brunelleschi,  are  always  open  (main 
entrance  Piazza  San  Lorenzo  3). 

A  staircase,  beginning  in  the  passage  to  the  right  of  the  entrance 
to  the  church  in  which  stands  a  statue  of  Paolo  Giovio  (1483-1552), 
the  historian,  by  Francesco  da  Sangallo  (1560),  ascends  to  the  upper 
story  of  the  cloisters  and  to  the  Biblioteca  Laurenziana  (PI.  E,  F,  4 ; 
adm.,  see  p.  4G4;  gratuities  forbidden),  a  library  founded  by  Cosimo 
the  Elder  in  1444,  and  gradually  enlarged  by  the  Medici.  Its  chief 
treasure  consists  of  about  10,000  MSS.  of  Greek  and  Latin  classical 
authors,  many  of  which  are  extremely  valuable.  The  building  was 
begun  in  1523-6  from  the  design  of  Michael  Angela,  who  built  the 
portico  (very  effective  in  spite  of  several  eccentricities,  such  as  the 
columns  inserted  in  the  walls,  with  massive  volutes  below).  The 
staircase  (which  also  was  designed  by  Michael  Angelo)  was  com- 
pleted in  1558-71  by  Vasari;  the  rotunda  containing  the  Bibl. 
Delciana,  was  erected  in  1841,  from  Poccianti's  design. 

The  wooden  ceiling  of  the  Library  was  executed  by  O.  B.  del  Tasso  and 
Carota,  from  Michael  Angela's  designs  (after  1529  ?J.  The  last  also  fur- 
nished the  design  for  the  88  'plutei'  to  which  the  MSS.  are  attached.  Among 
these  are  a  number  of  codices  of  rare  value :  Virgil  of  the  4th  or  5th  cent. ; 
Pliny  of  the  10th  or  11th  cent,  (from  the  Aflhburnham  Collection);  Ta- 
citus, two  MSS.  of  the  10th  and  11th  cent.,  the  older  brought  from  Ger- 
many, and  the  sole  copy  containing  the  first  five  books  of  the  Annals. 
The  Pandects,  of  the  6th  or  7th  cent.,  said  to  have  been  carried  off  from 
Amalfi  by  the  Pisans  in  1135,  the  oldest  existing  MS.  of  this  collection, 
on  which  the  study  of  Roman  Law  almost  entirely  binges.  Most  impor- 
tant MS.  of  iEschylus,  and  best  MS.  of  Cicero's  Epistolse  ad  Familiares. 
Petrarch's  Canzone,  with  portraits  of  Petrarch  and  Laura.  MSS.  of  Dante, 
including  a  sumptuous  codex  of  the  end  of  the  14th  century.  Letters  of 
Dante.  Decamerone  of  Boccaccio.  MSS.  of  Alfieri  (p.  51).  Document  of 
the  Council  of  Florence,  1439;  Codox  Amiatinus;  Syrian  gospels,  with 
miniatures  of  the  Cth  cent.;  maps  of  Ptolemy.  Catalogues  by  Assemann 
(Oriental  MSS.)  and  Bandini,   continued  by  Del  Furia  and  others. 

To  San  Lorenzo  belong  also  the  New  Sacristy  and  the  Chapel  of 
the  Princes,  the  entrance  to  which,  however,  is  now  in  the  Piazza 
Madonna  (PI.  E,  3;  adm.,  see  p.  4G4),  at  the  back  of  the  church. 
From  the  vestibule,  under  which  are  graves  of  some  of  the  Medici, 
we  ascend  a  flight  of  steps  to  the  left,  and  reach  first  the  chapel  of 
the  princes  (on  the  right),  and  then  the  new  sacristy  (on  the  left). 

The  Chapbl  of  the  Puinces  (Cappella  del  Principi),  the  burial 
chapel  of  the  grand-dukes  of  the  Medici  family,  was  constructed  after 
1604  by  Matteo  Nigetti,  from  the  designs  of  Giovanni  .de'  Medici, 
but  was  not  completed  till  a  much  later  period. 

It  is  octagonal  in  form,  covered  by  a  dome,  and  gorgeously  decorated 
with  marble  and  valuable  mosaics  in  stone.  The  paintings  in  the  dome 
are  by  Pietro  Benvenuli  (1828-38).  In  six  niches  below  are  the  granite  sarco- 
phagi of  the  princes,  some  of  them  with  gilded  bronze  statues,  from 
Cosimo  I.  (d.  1575)  to  Cosimo  III.  (d.  1723;  comp.  p.  425).  On  the  dado 
round  the  chapel  are  placed  the  armorial  bearings  of  16  Tuscan  towns  in 


528   Route  6d.  FLORENCE.     /.  From  Piazza  del  Duomo 

exquisite  stone -mosaic.  A  new  floor  was  begun  in  1888.  —  A  sum  of 
22  million  lire  (about  880,0002.)  was  expended  by  the  Medici  family  on  the 
construction  and  decoration  of  this  chapel. 

The  **New  Sacristy  {Sagrestia  Nuova;  admission,  see  p.  464; 
50  c.),  built  by  Michael  Angela  for  Cardinal  Giulio  de'  Medici  (who 
became  Pope  Clement  VII.  in  1523)  in  1520-24,  as  a  mausoleum 
for  the  house  of  the  Medici,  is  a  simple  quadrangular  edifice  sur- 
mounted by  a  dome  and  articulated  by  pilasters,  canopies,  and  re- 
cesses. In  form  it  corresponds  with  the  old  sacristy  by  Brunelleschi. 
The  sculptures  with  which  it  was  to  have  been  filled  (monuments 
to  Lorenzo  the  Magnificent  and  his  brother  Giuliano,  Popes  LeoX. 
and  Clement  VII.,  and  to  the  younger  Giuliano  and  Lorenzo  de' 
Medici)  have  been  confined  to  the  monuments  of  the  two  last-named, 
Oiuliano  de'  Medici  (d.  1516),  created  Due  de  Nemours  by  the  King 
of  France,  and  Lorenzo  de'  Medici  (d.  1519),  who  became  Duke 
of  Urbino  under  Leo  X.  The  great  master  worked  at  his  task  full 
of  bitter  feelings  at  the  abolition  of  the  republic  by  Alessandro  de' 
Medici,  and  in  1534  left  it  unfinished,  as  he  feared  the  tyrant's 
hate  after  the  death  of  the  Pope.  In  spite  of  these  unfavourable  cir- 
cumstances Michael  Angelo  has  here  produced  a  congruous  whole  of 
the  greatest  beauty.  Architecture  and  sculpture  are  as  harmonious 
as  if  the  master  had  modelled  sarcophagi  and  statues,  cornices  and 
niches,  doors  and  windows  out  of  one  and  the  same  clay. 

On  the  right  is  the  ^Monument  of  Gidliano  de'  Medici,  who  is  re- 
presented as  General  of  the  Church,  holding  the  commander's  baton 
in  his  hand.  Full  of  proud  confidence  and  energy  he  gazes  before  him, 
ready  to  start  up  at  the  approach  of  danger.  Below  is  the  sarcophagus, 
containing  the  remains  of  the  deceased  and  adorned  by  the  "Statues  of 
Day  and  Night,  the  latter  especially  admired.  A  contemporary  poet,  Gio- 
vanni Battista  Strozzi,  wrote  upon  it  the  lines : 

La  Nolle ,  die  tu  vedi  in  ti  dolci  alti  1  'Tis  Night,    in  deepest  slumber ;   all 

can  see 
Sormire,  fu  da  un  Angelo  scolpila       i  She  sleeps  (for  Angelo  divine  did  give 
In  queslo  sasso,   e  percM   dorme  ha    This  stone  a  soul),  and,  since  she 
vita;  sleeps,  must  live. 

Deslala,  se  no'l  credi,  e  parleratti.        You  doubt  it?    Wake  her,  she  will 

I  speak  to  thee. 

Michael  Angelo ,  in  allusion  to  the  suppression  of  political  liberty 
(see  above),  answered: 


Gralo  nC  ^7    sonno  e  piii  Vesser  di 

sasso ; 
Mentre  che'l  danno  e  la  vergogna  dura 

Non  veder ,  non  sentir  m'  i  gran  Ven- 
tura ; 


Ah !    glad   am   I  to  sleep    in    stone, 

while  woe 
And  dire   disgrace    rage  unreprovdd 

near  — 
A  happy  chance  to  neither  see  nor 

hear. 


Perb  non  mi  destar ;  deh J parla  basso !    So  wake  me   not!      When   passing, 

1  whisper  low. 

Comp.  Swinburne's  fine  sonnet  'In  San  Lorenzo',  beginning  'Is  thine 
hour  come  to  wake,  O  slumbering  Night?' 

Opposite  is  the  *Monument  of  Lorenzo  dk'  Medici,  who  in  contrast 
to  Giuliano  is  represented  in  profound  meditation  (hence  called  il  pen- 
sieroso) ;  below  it  his  sarcophagus,  which  contains  also  the  body  of  Duke 
Alessandro,  assassinated  in  1537,  with  "Statues  of  Evening  and  Dawn 
(Crepusculo  ed  Aurora).     The  original  significance  which  Michael  Angelo 


to  Santa  Maria  Novella.     FLORENCE.  64.  Route.    529 

meant  to  convey  before  the  siege  of  Florence  by  the  allegorical  figures 
IB  somewhat  obscure  and  artificial.  The  periods  of  the  day  represent  as 
it  were  the  various  members  of  the  universe,  which  are  sunk  in  grief  at 
the  death  of  the  heroes.  The  statues  are  not  portraits,  but  ideal  forms,  in 
which  are  reflected  the  two  chief  sides  of  a  heroic  nature,  —  self-devoted 
absorption  in  noble  designs,  and  confident  energy.  It  is  certain  that  sorrow 
at  the  fate  of  his  country,  scourged  by  pestilence  and  war,  which  delayed 
the  completion  of  the  statues,  exercised  a  great  influence  on  the  master's 
chisel,  though  the  theory  that  Michael  Angelo  was  from  the  beginning 
bent  upon  producing  a  purely  political  monument  cannot  stand  the  test. 
The  remaining  statues  in  the  chapel,  an  unfinished  Madonna,  by 
Michael  Angelo,  and  the  two  patron  saints  of  the  Medici,  St.  Damianus(l.) 
by  Raffaello  da  Afontelvpo,  and  St.  Co.9mas  (r.)  by  Fra  Giovanni  Angiolo  da 
Montorsoli  (who  also  assisted  Michael  Angelo  in  1533  on  the  statue  of  Giu- 
liano),  were  originally  intended  for  the  mausoleum  of  Lorenzo  the  Magni- 
ficent and  his  brother  Giuliano.  These  two  members  of  the  Medici  family 
are  buried  beneath  the  figure  of  the  Madonna,  in  coffins  renewed  in  1895. 

The  Via  de'  Conti  and  the  Via  Zannetti  (PI.  E,  4)  lead  to  the  S. 
from  the  Piazza  Madonna  (p.  527)  to  the  Via  de'  Cerretanl  (p.  525) 
and  the  Piazza  del  Duomo.  In  the  Via  Zanetti  (No.  8)  stands 
the  Palazzo  Martelli.  On  the  first  floor,  ahove  the  staircase,  is  a 
family  coat-of-arms  by  Donatello.  The  small  picture-gallery  (no 
adm.  in  1905)  contains  marble  statues  of  David  (unfinished)  and 
John  the  Baptist  by  Donatello,  a  bust  of  a  child  by  Ant.  Rossellino, 
and  also  several  good  paintings,  among  them  a  portrait  of  a  woman 
by  Paolo  Veronese  (No.  42).  —  On  the  house  opposite  is  a  relief  of 
the  Madonna  by  Mino  da  Fiesole. 

In  the  Via  Faenza,  to  the  N.  of  the  Piazza  Madonna,  stands  (lelf;  the 
Gothic  church  of  San  Jacopo  in  Campo  Corbolini  (PI.  E,  3;  closed),  founded 
in  1206,  with  a  colonnaded  fore-court  and  funeral  monuments  of  the  18th 
and  14th  centuries.  —  Farther  on  to  the  right,  between  Nos.  36  and  38,  is  the 
former  refectory  of  the  convent  of  SanC  Ono/rio  (PI.  E.  2),  with  the  so- 
called  Cenacolo  di  Fuligno,  a  large  fresco  of  the  Last  Supper,  by  Pemgino 
(retouched),  and  some  unimportant  paintings  from  the  Galleria  Feroni 
(adm.,  see  p.  46i). 

In  the  Via  Nazionale  (PI.  E,  F,  2,  3),  to  the  left,  opposite  the  beginning 
of  the  Via  delT  Ariento,  is  a  large  group  of  the  Madonna  and  saints,  by 
Giovanni  delta  Robbia  (1522).  —  The  Mercato  Centrale  (PI.  E,  F,  3),  a  market 
for  provisions  (vettovaglie),  in  the  Via  deir  Ariento,  was  designed  by  Givs. 
Mengoni  (p.  137). 

From  the  W,  side  of  the  Piazza  Madonna  the  Via  del  Giglio 
(PI.  E,  3,  4)  leads  to  the  Piazza  di  S.  Maria  Novella. 

The  Piazza  di  Santa  Maeia  Novella  (Pl.D,  3,  4)  was  the  fre- 
quent scene  of  festivals  and  games  in  former  times.  The  Palio  dei 
CoccM,  the  chief  of  these ,  instituted  in  the  reign  of  Cosimo  I.  in 
1563,  took  place  on  the  eve  of  the  festival  of  St.  John,  and  consisted 
of  a  race  of  four  four-horse  chariots.  Two  obelisks  of  marble  of  1608, 
standing  on  brazen  tortoises,  perhaps  by  Giov.  da  Bologna,  served 
as  goals.  —  On  the  Loggia  di  San  Paolo,  an  arcade  opposite  the 
church,  erected  in  1489-96,  is  a  good  terracotta-relief  by  Andrea 
della  Robbia,  representing  the  meeting  of  St.  Francis  and  St.  Dominic. 

The  church  of  *Santa  Maria  Novella  (PL  D,  3),  begun  in  1278 
on  the  site  of  an  earlier  edifice,  from  designs  by  the  Dominican  monks 

Babdekub.    Italy  I.    13th  Edit.  34 


530   Route  64.  FLORENCE,     f.  Santa  Maria  Novella. 

Fra  Sisio  aiid  Fra  Ristoro,  and  completed  in  the  interior  after  1350 
hy  Fra  Jac.  Talenti,  is  'perhaps  the  purest  and  most  elegant  example 
of  Tuscan  Gothic'.  In  145G-70  it  was  furnished  with  a  beautiful 
marble  facade  (begun  in  the  lower,  Gothic  portion  as  early  as  about 
1350)  and  a  fine  portal,  executed  by  6iov.  Bertini  from  the  designs 
of  Leon  Battista  Alberti,  who  first  employed  volutes  here  to  connect 
the  nave  and  aisles.  A  quadrant  and  two  concentric  meridians  on 
the  right  and  left  were  constructed  by  P.  Ignaz-io  Danti  in  1572.  — 
The  pointed  arcades  ('avelli'  i.e.  vaults)  of  black  and  white  marble, 
which  adjoin  the  church  on  the  E.,  were  originally  constructed  in  the 
14th  cent.,  and  were  restored  in  1870 ;  they  were  used  as  tombs  for 
the  nobility.  The  best  view  of  the  mediaeval  building,  with  its 
tasteful  campanile  (restored  in  1895),  is  obtained  from  the  N.E.  side. 

The  spacious  Interior,  in  the  form  of  a  vaulted  Gothic  basilica,  con- 
sists of  nave  and  aisles  resting  on  12  alternately  thin  and  thick  piers.  It  is 
325  ft.  long  and  93  ft.  wide;  the  transept  is  202  ft.  in  length.  The  unequal 
distances  between  the  pillars,  varying  from  37  ft.  to  49  ft.,  are  an  un- 
explained peculiarity.  (The  visitor  is  warned  not  to  overlook  the  two  steps 
halfway  up  the  church.) 

Nave.  On  the  entrance -wall,  to  the  left  of  the  central  door,  the 
"Trinity  with  the  Virgin  and  St.  John  and  two  donors,  in  fresco  (much 
injured),  one  of  the  best  works  of  Afasaccio;  on  the  right,  Annunciation, 
fresco  of  the  14th  century.  Over  the  door,  a  crucifix  in  the  style  of  Giotto.  — 
The  altar-pieces  are  by  Vasari,  Jac.  Ligozzi,  etc.  —  In  the  Right  Transept, 
to  the  right,  Gothic  monument  of  Tedice  Aliotti,  Bishop  of  Fiesole  (d.  133(i) 
by  Titio  di  Camaino  ;  adjacent,  the  Gothic  monument  of  the  Patriarch  Joseph 
of  Constantinople  (d.  1440),  who  died  while  attending  the  Great  Council  of 
1439  (p.  468).  Above  the  monument  is  a  Madonna  by  Nino  Pisano.  —  We 
now  ascend  the  steps  to  the  Cappella  Rhcellai,  which  contains  a  large 
badly-lighted  altar-piece,  Madonna  with  angels,  according  to  Vasari  by 
Cimabue,  now  generally  supposed  to  be  by  Ducdo  of  Siena  (1285).  This  is 
the  picture  which,  according  to  Vasari  was  borne  in  solemn  procession 
from  the  painter's  studio  to  the  church  (ca.  1280),  'followed  by  the  whole 
population,  and  with  such  triumph  and  rejoicings  that  the  quarter  where 
the  painter  dwelt  obtained  the  name,  which  it  has  ever  since  retained, 
of  Borgo  Allegri'  (Lindsay  s  'Christian  Art").  In  this  chapel  are  also  (r.) 
the  monument  of  Beata  Villana  by  Bernardo  Rosselliiio  (1451)  and  (1.)  a 
Martyrdom  of  St.  Catharine  by  Bugiardini  (partly  copied  from  a  drawing 
by  Michael  Angela').  —  To  the  right  of  the  choir  is  the  Chapel  of  Filippo 
Strozzi,  with  his  "Monument  by  Ben.  da  Maiano  (1491),  and  frescoes  by 
Filippino  Lippi  (1502)  :  on  the  left,  St.  John  resuscitating  Drusiana,  and 
Martyrdom  of  St.  John  in  a  caldron  of  boiling  oil ;  on  the  right,  St.  Philip 
exorcising  a  dragon ;  above  is  a  fine  stained-glass  window  after  a  cartoon 
by  Filippino. 

The  Choir  contains  'Frescoes  by  Domenico  Ohirlandaio,  which  form 
that  master's  most  popular  work,  and  are  also  the  finest  specimens  of 
Florentine  art  before  Leon,  da  Vinci,  Michael  Angclo,  and  Raphael.  Accord- 
ing to  the  inscription  they  were  painted  'anno  1490,  quo  pulcherrima  civitas 
opibus  victoriis  artibus,  aedillciisque  nobilis  copia  salubritate  pace  per- 
fruebatur'.  On  the  upper  part  of  the  wall  of  the  altar  is  a  Coronation  of 
the  Madonna;  adjoining  the  A'indows  are  SS.  Francis  and  Peter  the  Martyr, 
the  Annunciation,  and  John  the  Baptist,  and  below  all  these,  Giovanni 
Tornabuoni  and  Prancesca  Pitti  (p.  503),  his  wife,  at  whose  expense  these 
works  were  executed.  —  On  the  left  wall,  in  seven  sections,  is  represented 
the  life  of  Mary :  below,  Expulsion  of  Joachim  from  the  Temple,  Nativity 
of  Mary  (the  architecture  of  the  interior  beautifully  enriched).  Visit  to  the 
Temple,  Her  Nuptials,  Adoration  of  the  Magi,  Massacre  of  the  Innocents, 
and  Her  Death  and  Assumption.  —  The  right  wall   is  devoted  to  the  life 


/:  Santa  Maria  Novella.       FLOKENCE.  04.  Route.   531 

of  John  (he  Baptist.  The  first  scene,  below,  Zacharias  in  the  Temple,  is 
celebrated  for  the  number  of  portraits  which  are  introduced  in  a  remark- 
ably easy  and  lifelike  manner.  The  figures  below  to  the  left  are  said  to 
be  portraits  of  Cristoforo  Landini,  Angelo  Poliziano,  and  Marsilio  Ficino, 
distinguished  scholars  and  humanists.  The  other  scenes  are  the  Visitation, 
Nativity  of  John,  the  Naming  of  the  child,  the  Baptist  preaching  repentance 
(in  which  the  master  shows  his  art  in  grouping  and  individualising  the 
figures).  Baptism  of  Christ,  and  Dancing  of  the  Daughter  of  Herodias. 
Several  of  these  works  are  defaced  almost  beyond  recognition.  —  The 
stained  glas.=  (1492)  was  executed  hy  Alessandro  Piorenlino.  —  The  choir- 
stalls  are  by  Baccio  d^Agnolo,  partly  restored  by  Vasari.  At  the  back  of  the 
altar  is  a  "Brass  to  the  memory  of  Lionardo  Dati  (d.  1424)  by  Lor.  Ghiberti. 

The  Capi'Ell.\  Gondi  to  the  left  of  the  choir,  by  Giuliano  da  Sangallo, 
contains  the  celebrated  wooden  'Crucifix  of  Brunelleschi,  which  gave  rise 
to  the  rivalry  between  him  and  his  friend  Donatello  (p.  507).  —  The 
following  Gaddi  Chapel,  by  G.  A.  Dosio,  is  adorned  with  bas-reliefs  by 
Oiov.  dair  Opera. 

Left  Thansept.  The  Strozzi  Chapel,  to  which  steps  ascend,  contains 
celebrated  'Frescoes,  unfortunately  badly  lighted,  of  the  School  of  Giotto: 
opposite  the  entrance,  the  Last  Judgment  (among  the  elect,  to  the  left  in 
the  top  row,  Dante  praying  and  Petrarch  in  priestly  dress);  (1.)  Paradise, 
over  the  figures  in  which  broods  a  truly  celestial  repose,  hy  Andrea  Orcagna; 
Hell  (r.)  according  to  Dante,  by  Andrea's  brother  Nardo  di  done;  altar- 
piece,  Christ  with  SS.  Thomas  Aquinas  and  Peter,  completed  in  1357,  by 
Andrea.  —  The  next  door,  in  the  corner,  leads  to  the  Sacristt,  the  most 
interesting  object  in  which  is  a  fountain  by  Oiov.  delta  Robbia  (1497),  a 
magnificent  work  of  its  kind.  In  the  1st  case  on  the  left  are  some  fine 
Spanish  vestments  of  the  14th  century. 

A  door  to  the  right  of  the  steps  to  (he  Strozzi  Chapel  (opened  by  the 
sacristan;  30-50  c)  admits  to  the  so-called  Sepolcreto,  or  burial  vault,  with 
an  open  colonnade  and  frescoes  of  the  14th  century.  To  the  left  we  enter 
the  Ancient  Cloisters,  called  //  Chiostro  Verde,  restored  in  1895.  The  E. 
wall  is  adorned  with  old  and  much  injured  frescoes  in  terra  verde  (dill'erent 
shades  of  green).  Those  in  the  three  first  lunettes,  representing  the  Creation, 
the  Expulsion  from  Paradise,  Cain  and  Abel,  and  the  Building  of  the  Ark, 
are  by  followers  of  Giotto  (?).  The  Deluge,  in  which  the  artist  has  depicted 
with  great  power  the  helplessness  of  man  in  presence  of  the  fury  of  the 
elements,  in  the  fourth  lunette,  and  the  Offering  and  Drunkenness  of  Noah, 
are  by  Paolo  Uccello  (about  1446).  —  To  the  right  (N.)  in  the  cloisters  is 
the  'Cappella  degli  SpagnuoU  (best  light,  10-12),  formerly  the  chapter- 
house, and  bearing  its  present  name  because  assigned  to  the  Spanish 
residents  of  Florence  in  1566.  It  was  built  about  1355  and  restored  in  1S95. 
The  frescoes  (restored)  of  Gioito^s  School  are  attributed  by  Vasari  to  Taddeo 
Gaddi  and  Simone  ifartini  (V)  but  by  more  mudorn  critics  to  Andrea  da 
Firenze.  Most  of  them  are  merely  second-rate  works,  though  interesting 
to  the  student  of  art.  Their  subjects  follow  the  doctrines  of  Thomas 
Aquinas,  (he  great  Iiominican  saint.  On  the  wall  of  the  altar  is  a  large 
and  crowded  painting  of  the  Crucifixion,  and  below  it,  to  the  left.  Bearing 
of  the  Cross,  (o  the  right,  Christ  in  Hades;  on  the  ceiling,  (he  Resurrection, 
Ascension,  Descent  of  the  Holy  Ghost,  Christ  and  Peter  on  the  water. 
On  the  E.  side  (r.)  the  Church  Militant  and  Triumphant,  suggested  by 
Thomas  Aquinas's  commentary  on  the  Song  of  Solomon  :  beneath,  to  the 
left,  in  front  of  the  cathedral  of  Florence  (an  ideal  representation  of  the 
then  unfinished  building),  appear  the  pope  with  his  flock  and  the  members 
of  the  church,  and  the  emperor  with  the  representatives  of  secular  power; 
to  the  right,  the  heretics  are  represented  as  wolves  hunted  by  the  Dominicans 
in  the  form  of  black  and  white  dogs  ('Domini  canes'),  also  (heir  conversion; 
above,  (he  joy  of  the  blessed  and  admission  to  heaven;  at  (he  top,  Christ 
in  glory  surrounded  by  angels.  —  On  the  W.  side  (1.),  Triumph  of  Thomas 
Aquinas,  surrounded  by  angels,  prophets,  and  saints,  in  his  hand  an  open 
book;  at  his  feet  the  discomfited  heretics  Ariua,  Sabellius,  and  Averrhoes. 
Below,  28  figures  representing  arts  and  sciences  approved  by  (he  church. 
On  the  wall  of  the  door,   Histories  of  St.  Dominic  and  St.  Peter  Martyr. 

34* 


532   Route  Gd.  FLORENCE.  y.  Palazzo  Strozzi. 

Mr.  Euskin  devotes  No8.  IV  and  V  of  the  'Mornings  in  Florence''  to 
the  frescoes  in  this  chapel.  —  The  Gkeat  Cloisteks,  the  largest  at  Flor- 
ence, with  frescoes  by  CigoU,  Al.  Allori,  Santi  di  Tito,  Poccetti,  and  others, 
are  adjacent  to  the  above.  —  The  three  smaller  courts  date  from  different 
parts  of  the  15th  century.  —  Opposite  the  above-mentioned  Sepolcreto, 
adjoining  the  tomb  of  the  Marchesa  Eidolfo ,  are  two  small  frescoes  by 
Oiollo,  representing  the  Meeting  of  SS.  Joachim  and  Anna  at  the  Golden 
Gate  and  the  Birth  of  the  Virgin  (see  No.  II  of  the  'Mornings  in  Florence'). 

The  Furrnacia  di  Santa  Maria  Nooella  (PI.  D,  3),  or  laboratory 
of  the  monastery  (entrance  in  the  Via  della  Scala,  No.  12A),  contains 
in  a  former  chapel  frescoes  (retouched)  of  the  14th  cent,  (the  Pas- 
sion), by  Spinello  Aretino.  The  Spezeria  is  celebrated  for  the  per- 
fumes and  liqueurs  prepared  in  it,  especially  'Alkermes',  a  specialty 
of  Florence,  flavoured  with  cinnamon  and  cloves. 

Farther  on  in  the  Via  della  Scala  (No.  89)  is  the  Palazzo  Ridolfi 
(formerly  Pal.  Stiozzi;  PI.  C,  2).  The  adjoining  garden,  the  Orti 
Oricellari,  was  the  seat  of  the  Platonic  Academy  (p.  470)  from  1498 
to  1622,  and  afterwards  belonged  to  Bianca  Cappello,  wife  of  Grand- 
Duke  Francis  I.  (p.  536).  It  contains  a  colossal  figure  of  Poly- 
phemus by  Novelli,  and  other  sculptures. 

In  the  Via  di  Palazzuolo  is  the  church  of  San  Feancesco 
de'  Vanchetoni  (PI.  D,  3),  with  two  beautiful  busts  of  children, 
by  Ant.  Rosaellino  and  Desiderio  da  Settignnno.  Key  at  the  neigh- 
bouring shop,  No.  13  (fee  30  c). 

g.    From  the  Piazza  Vittorio  Emanuele  to  the  Piazza  Santa 
Trinity  and  the  Lungarno  Amerigo  Vespucci. 

The  uninterestir>g  new  Piazza  Vittorio  Emanuele  (PI.  E,  4,  5) 
now  forms  the  focus  of  the  Centro  (p.  471)  and  is  especially  an- 
imated in  the  evening.  It  occupies  part  of  the  site  of  the  Roman 
Forum,  which  afterwards  became  the  market-place.  In  the  middle, 
facing  the  Via  degli  Speziali  (p.  477),  rises  a  bronze  equestrian 
Statue  of  Victor  Emmanuel  II.,  by  Emilio  Zocchi  (1890).  —  On  the 
W.  side  of  the  piazza  is  a  portico  with  an  imposing  arch  forming 
the  entrance  to  the  Via  degli  Steozzi  (PI.  E,  4),  with  its  shops. 

Adjacent  to  the  left,  in  the  narrow  Piazza  Strozzi,  rises  the  hand- 
some — 

*Palazzo  Strozzi  (PI.  D,  E,  4),  begun  in  1489,  perhaps  by  Bene- 
detto da  Maiano  (d.  1497),  for  Filippo  Strozzi,  the  celebrated  ad- 
versary of  the  Medici  (comp.  p.  455),  continued  by  Cronaca  (d.  1508), 
but  not  reaching  its  present  state  of  completion  till  1533.  It  pre- 
sents an  example  of  the  Florentine  palatial  style  in  its  most  perfect 
development.  It  possesses  three  imposing  facades,  constructed  of 
regular  courses  of  heavy  rustica-work,  with  narrow  intervening 
cornices,  immediately  above  which  are  the  handsome  windows,  with 
their  columnar  mullions.  The  celebrated  top  cornice  (unfinished), 
by  Cronaca,  is  an  enlarged  copy  from  an  antique  Roman  fragment. 
The  fanali  or  corner-lanterns  (by  Caparra^,  the  link-holders,  and 


■g.  Santa  Trinitcl.  FLORENCE.  64.  Route.   533 

the  rings  are  among  the  finest  specimens  of  Italian  iron-work  of  the 
period.    The  court,  added  by  Cronaca,  is  also  impressive. 

Nearly  opposite,  on  the  E.  side  of  the  piazza,  is  the  Palazzo 
Strozzino  (PI.  E,  5),  a  smaller  building  in  a  similar  style,  with  a 
fine  court,  ascribed  to  Giuliano  da  Maiano  (ca.  1460). 

The  back  of  the  Pal.  Strozzi  abuts  on  the  Via  Toenabuoni 
(PI.  D,  4, 6),  the  most  fashionable  street  in  Florence,  with  handsome 
palazzi  and  fine  shops.  On  the  right  (No.  20),  is  the  Palazzo  Corsi- 
Salviati  (PL  D,  E,  4),  formerly  Tornnbuoni,  originally  by  Michelozzo, 
but  remodelled  in  1867.  No.  19,  on  the  left,  is  the  fine  Palazzo  Lar- 
derel  (PL  D,  4),  formerly  Oiacomini,  in  the  developed  Renaissance 
style,  by  Oiov.  Ant.  Dosio  (1558-80).  No.  3,  also  on  the  left, 
facing  the  Piazza  Antinori  (PL  E,  4),  is  the  Palazzo  Antinori,  with 
its  elegant  early-Renaissance  facade,  said  to  have  been  built  by 
Oiuliano  da  Sangallo.  —  Opposite  is  the  church  of  Santi  Michele 
e  Gaetano,  rebuilt  by  Matteo  Nigetti  in  1604-48.  Adjacent,  to  the 
left,  is  the  Cappella  San  Oaetano  (sacristan  in  the  lane  to  the  left), 
containing  a  relief  of  the  Madonna  by  Andrea  della  Robbia. 

Two  streets  lead  to  the  W.  opposite  the  Pal.  Strozzi:  the  Via 
della  Vigna  Nuova,  to  the  left,  and  the  Via  della  Spada,  to  the 
right.  In  the  former  (No.  20;  right)  is  the  *  Palazzo  Rucellai 
(PL  D,  4),  erected  in  1446-51  by  Bern.  Rossellino  from  a  design 
by  Leon  Battista  Alberti,  who  for  the  first  time  here  employed  a 
combination  of  rustica  and  pilasters.  Opposite  is  a  loggia  of  1468, 
now  built  up.  —  In  the  Via  della  Spada  are  the  former  church  of 
San  Pancrazio  (now  a  cigar -factory),  in  the  Piazza  S.  Pancrazio, 
and  the  little  Cappella  de'  Rucellai  (key  kept  by  the  porter  of  the 
Pal.  Rucellai;  fee  30-50 c).  The  chapel  contains  an  ideal  imitation 
in  marble  of  the  Holy  Sepulchre  at  Jerusalem,  a  charming  early- 
Renaissance  structure,  also  by  Alberti  (1467).  —  The  continuation 
of  the  Via  della  Spada,  Via  di  Palazzuolo,  see  p.  532. 

The  Via  Tornabuoni  ends  on  the  S.  in  the  long  Piazza  Santa 
Trinita  (PL  D,  5).  The  N.  end  of  the  square  is  adorned  with  a 
Granite  Column  from  the  Baths  of  Caracalla  at  Rome,  erected  here 
in  1563  and  furnished  in  1570  with  an  inscription  in  honour  of 
Cosimo  I.,  who  had  just  been  made  grand-duke  by  the  pope.  On 
the  summit  is  placed  a  statue  of  Justice  in  porphyry,  by  Fr.  Tadda, 
added  in  1581.  The  figure  was  afterwards  considered  too  slender, 
and  consequently  draped  with  a  robe  of  bronze. 

The  church  of  *Saiita  Triniti(Pl.  D,  5;  pronounced  TrCnita  by 
the  Florentines),  one  of  the  oldest  in  the  city,  was  in  the  possession 
of  the  monks  of  Vallombrosa  (p.  659)  from  the  end  of  the  11th  cent, 
onwards.  In  the  13-15th  cent,  it  was  renewed  in  the  Gothic  style 
from  plans  ascribed  to  Niccolb  Pisano  (?),  but  it  was  modernized  by 
Buontalenti  in  1593  and  furnished  with  its  present  fagade. 

The  Interior,  restored  since  1884  in  the  style  of  the  14th  cent.,  con- 
sists of  nave  and  aisles  with  transept,  and  is  flanked  with  chapels  at  the 
sides  and  adjoining  the  high-altar.  —  Right  Aisle.     4th  Chapel  (closed): 


534    Rovle  64.  FLORENCE.  g.  Santa  Trinrlh 

Frescoes  by  Lorenzo  Monaco;  Annunciation,  altar-piece,  by  the  same. 
5th  Chapel:  Fine  marble  altar  by  Benedetto  da  Rovezzuno  (1552).  —  Left 
Aisle.  Srd  Chapel:  Tomb  of  Giuliano  Davanzati  (d.  1444),  in  the  style 
of  an  early -Christian  sarcophagus.  5th  Chapel:  Wooden  statue  of  the 
Magdalen,  by  Desiderio  da  SetUgnano  (completed  by  Benedetto  da  Maiano). 

Choir  Wall.  The  2nd  Chapel  to  the  left  contains  the  fine  'Monument 
of  Benozzo  Federighi,  Bishop  of  Fiesule  (d.  1450),  by  Ltica  della  Robbia, 
completed  in  1457  (formerly  in  San  Pancrazlo).  The  recumbent  figure  of 
the  deceased  and  the  border  of  painted  and  glazed  garlands  of  fruit  are 
especially  admired.  —  In  the  spandrels  of  the  Choik  are  four  frescoes  of 
the  Patriarchs  by  Alessio  Baldovinetli.  —  The  Cappella  de'  Sassetti,  the 
second  on  the  right  from  the  high-altar,  is  adorned  with  "Frescoes  (some 
much  injured)  from  the  life  of  St.  Francis  by  Dom.  Ohirlandaio,  dating 
from  1485,  and  presents  a  model  of  consistent  ornamentation.  The  frescoes 
are  in  double  rows.  We  begin  with  the  upper  row,  to  the  left:  1.  St. 
Francis  banished  from  his  father's  house;  2.  Pope  Honorius  confirms  the 
rules  of  the  order;  3.  St.  Francis  in  presence  of  the  Sultan.  Lower  row: 
1.  St.  Francis  receiving  the  stigmata;  2.  Resuscitalion  of  a  child  of  the 
Spini  family;  3.  Interment  of  the  saint.  The  donors  near  the  altar  and 
the  sibyls  on  the  ceiling  are  also  by  Ohirlandaio.  The  altar-piece  (Adora- 
tion of  the  Shepherds)  is  a  modern  copy  of  Gbirhindaio.  At  each  side 
are  handsome  tombs  of  the  Sassetti  by  6iul.  da  Sangallo.  —  In  the  Sacristy, 
adjacent  on  the  right,  formerly  the  Chapel  of  the  Strozzi,  is  a  monument 
of  Onofrio  Strozzi,  father  of  Palla  Strozzi,  by  Piero  di  Niccolb  (1417). 

Opposite  tlie  church,  at  the  corner  of  the  Borgo  Santi  Apostoli 
(p.  475 1,  rises  the  Palazzo  Barlolini-Salimbeni  {  now  Hotel  du  Nord  I, 
a  late-Renaissance  building  by  Baccio  d'Agnolo  (152(1).  —  Also  to 
the  left,  near  the  Arno,  is  the  imposing  Palazzo  Spini  (PI.  D,  5), 
now  usually  called  the  Pal.  Ferroni,  dating  from  the  beginning  of 
the  14th  cent.,  and  still  retaining  the  aspect  of  a  medieval  strong- 
hold. It  was  restored  in  1874  and  is  the  headquarters  of  the  'Circolo 
Filologico'  (p.  462)  and  of  the  Florence  Section  of  the  Italian  Alpine 
Club.  —  Ponte  S.  Trinitd,  see  p.  536. 

Proceeding  along  the  bank  of  the  Arno  from  the  S.  side  of  the 
Piazza  S.  TrinitSi  by  the  pretty  Lungarno  Corsini  (PI.  D,  5,  4), 
we  pass  on  the  right  (No.  2)  the  Palazzo  Masetti  (PI.  D,  5),  for- 
merly Fontebuoni ,  where  the  dramatist  Alfleri  resided  and  died 
(Oct.  9th,  1803).  —  No.  10  in  the  same  street  is  the  Palazzo  Corsini 
(PI.  D,  4),  remodelled  in  1656  by  Pier  Francesco  Silvani,  with  a 
magnificent  staircase  by  Ant.  Ferri  (1695).  It  contains  a  valuable 
Picture  Oallery  (adm.,  see  p.  464 ;  entrance  at  the  back  of  the  court, 
to  the  right,  fee  V2  ^i".  ;  lists  of  the  pictures  furnished). 

I.  Room:  7.  Dosso  Dossi  (?),  Nymph  and  Satyr  (original  in  the  Pitti 
Gallery,  Xo.  147,  p.  542) ;  lb.  Luca  Giordano,  Venus  healing  the  wounds  of 
.^neas  ;  13,  14,  21,  24.  Susierjnans,  Portraits  of  the  Medici.  —  II.  Room: 
Battle-pieces  by  Borgognone  (47,  54)  and  Salvator  Rosa  (49,  51,  74, 76,  82,  84) ; 
sea-pieces  by  Salv.  Rosa  (55,  63).  —  On  the  side  next  the  Arno,  III.  Room: 
93.  Carlo  Doici,  Madonna  (in  crayons);  92.  Giov.  Batt.  Moroni {h.  Portrait; 
202.  Tintoretto  (?),  Portrait;  100.  Santi  di  Tito,  Baptism  of  Christ;  105. 
Oiulio  Romano,  Copy  of  Raphael's  Violinist  (1518?);  199.  Italian  School 
(not  Van  Dyck),  Portrait  ot  Ottavio  Piccolomini;  121.  Jac.  da  EmpoH,  Ma- 
donna, after  a  lost  fresco  by  A.  del  Sarlo;  122.  Copy  of  Titian's  Madonna 
in  the  Hof-Museum  at  Vienna;  above  the  door,  126.  Caravaggio,  Still-life; 
129.  Rid.  Ohirlandaio,  Portrait;  128.  Rembrandt,  His  own  portrait  as  an  old 
man  (copy).  On  an  easel,  Sustermans,  Marquis  Geri  della  Rena.  —  IV.  Room  : 
over  the  door,  180.  Artemisia  Oentileschi,  Judith  (comp.  p.  545);  416.  An- 


and  the  Lungarno.  FLORENCE.  64.  Route.   535 

tonella  da  MesHna{<),  Crucifixion;  t67.  School  of  Botticelli,  Madonna,  with 
angels;  "162.  Filippino  Lippi,  Madonna  and  angels,  the  finest  private  devo- 
tional painting  by  this  master;  "157.  Luca  Signorelli.  Madonna  and  SS. 
Jerome  and  Bernard;  Timoteo  Viti,  407.  JIuse,  409.  Apollo;  408.  Oiov.  Santi 
(father  of  Raphael),  Muse;  154.  Crist.  AUori,  Judith  (copy?);  148.  Alleged 
cartoon  for  Raphael's  portrait  of  Jnlins  II.  (not  genuine);  141.  Pontormo, 
Madonna.  —  V.  Room:  200.  Raffaellino  del  Oarbo ^  Madonna  with  saints 
and  angels  (1502);  99.  Siistermaiis .,  Cardinal  Neri  Corsini.  —  VI.  Room: 
179.  Carlo  Dolci,  Poetry:  "241.  Andrea  del  Sarto  (?  more  probably  Fran- 
ckihigio),  Apollo  and  Daphne;  236.  Salvator  Rosa,  Landscape;  232.  Ouido 
Reiii,  Lucretia;  opposite,  209.  MevUing,  Portrait.  —  VII.  and  VIII.  Rooms 
(dark).  The  former  contains  copies  from  Salvator  Bosa.  —  IX.  Room: 
270.  Ouido  Rent,  Pinabello  and  Bradamante.  —  X.  Room:  292.  View  of 
the  Piazza  della  Signoria  of  1498,  with  the  burning  of  Savonarola.  — 
Recrossing  Room  III,  we  enter  the  XI.  Room:  nothing  important.  —  In 
a  cabinet  to  the  right  (XII),  in  a  very  dark  corner,  483.  Seb.  del  Piombo, 
Pope  Clement  VII.  (unfinished). 

The  Lungarno  Corsini  ends  at  the  Piazza  del  Pontb  alla 
Carraia  (PI.  C,  D,  4),  -whence  the  bridge  mentioned  at  p.  472 
spans  the  Arno,  and  the  Via  de'  Fossi,  with  its  numerous  shops, 
hranches  oft"  on  the  N.E.  to  the  Piazza  Santa  Maria  Novella  (p.  529). 
Opposite  the  bridge  is  a  marble  statue  of  Goldoni,  the  poet  (1873). 
The  continuation  of  the  Lungarno  is  known  as  the  Lungarno 
Amerigo  Vespucci  after  Amerigo  Vespucci  (1451-1512;  see  below), 
the  navigator,  a  native  of  this  neighbourhood  who  gave  his  name 
to  America.  —  Near  the  beginning  of  the  Lungarno  Amerigo  Vespucci 
expands  the  Piazza  Manin  (PI.  C,  4),  bounded  on  the  N.E.  by  the 
Borgo  Oynissanti,  which  runs  parallel  with  the  Lungarno,  with  a 
bronze  Statue  of  Daniele  Manin  (p.  290). 

The  suppressed  Minorite  monastery  of  Ognissanti  ( now  barracks) 
on  the  E.  side  of  the  piazza  was  occupied  from  1256  by  members 
of  the  Lombard  order  of  Humiliati,  who  did  much  to  improve  the 
woollen-manufacture.  Beside  it  is  the  church  of  San  Salvadore 
d'Ognissanti  (PI.  C,  3),  erected  in  1554,  remodelled  in  1627,  the 
facade  by  Matteo  Nigeiti  (restored  in  1882),  with  lunette  by  Giov. 
della  Robbia,  representing  the  Coronation  of  Mary. 

The  Interior  consists  of  a  nave  and  transept  with  flat  ceiling.  By  the 
2nd  altar  to  the  right,  Descent  from  the  Cross  and  Madonna  della  Miseri- 
cordia,  two  frescoes  by  Dom.  Qhirlandaio  (1480),  with  several  portraits  of 
the  Vespucci  family.  On  the  wall  to  the  left  are  the  arms  of  the  family, 
and  on  a  slab  in  the  pavement  in  front  is  the  inscription:  'Amerigo 
Vespucio  posteris  suis  1471'.  Between  the  3rd  and  4th  altars  are  frescoes 
on  both  sides:  on  the  right  St.  Augustine,  by  <S'.  Botticelli,  on  the  left, 
St.  Jerome,  by  Domenico  Qhirlandaio.  A  chapel  in  the  left  transept,  ap- 
proached by  steps,  contains  a  crucifix  by  Giotto.  Opposite  is  the  entrance  to 
the  sacristy,  which  contains  a  fresco  of  the  Crucified,  with  angels,  monks, 
and  saints,  of  the  school  of  Oioito.  —  Adjacent  is  the  entrance  to  the 
Cloisters,  in  the  style  of  Michelozzo,  adorned  with  frescoes  by  Qiovanni 
da  San  Giovanni,  Ligozzi,  and  others.  —  The  old  Refectory  (adm.,  see  p.  461), 
in  the  N.E.  angle,  contains  a  large  fresco  of  the  'Last  Supper,  by  Dom. 
Qhirlandaio  (1480)  and  a  charming  ciborium  (over  the  entrance)  by  Agostino 
di  Duceio. 

Farther  on  is  a  bronze  Statue  of  Garibaldi  (PI.  B,  3),  by  Zocchi 
(1890).  —  The  Lungarno  Amerigo  Vespucci  ends  at  the  Piazza  degli 
ZuiUH  (PI.  A,  B,  1,  2),   at  the  entrance  to  the  Cascine  (p.  662). 


536   Route  6i.  FLORENCE.  h.  Left  Bank 

h.  Districts  of  the  City  on  the  left  hank  of  the  Aruo.  Fitti  Palace. 

Ahout  one-fourth  part  of  the  city  lies  on  the  left' hank. 

We  cross  the  Ponte  Santa  Trinity  (PI.  D,  5;  pp.  472,  534), 
adorned  with  allegorical  statues  of  the  seasons,  and  proceed  in  a 
straight  direction  to  the  Via  Maggio  (Pi.  0,  5,  6),  No.  26  in  which 
is  the  house  of  Bianca  Cappello  (d.  1587),  wife  of  Grand -Duke 
Francis  I.,  and  well  known  for  the  romantic  vicissitudes  of  her  history, 
erected  in  1566. 

The  Pal.  Rinuccini  (PI.  C,  5),  in  the  Via  Santo  Spirito,  the  first  side- 
street  to  the  right,  contains  a  collection  of  Roman  inscriptions.  In  the 
Borgo  San  .Tacopo,  the  first  side-street  to  the  left,  is  the  small  church  of 
San  Jacopo  Soprarno  (PI.  D,  5),  with  a  Tuscan-Komanesque  vestibule  of 
the  lith  cent.,  brought  hither  from  the  convent-church  of  San  Donato  in 
Scopeto. 

We  next  follow  the  second  side-street  (Via  dei  Michelozzi)  to 
the  right  and  reach  the  quiet  Piaz7.a  Santo  Spirito  (PI.  C,  5,  6), 
which  is  laid  out  in  gardens.  Immediately  to  the  right  is  the  con- 
vent-church of  the  — 

*Santo  Spirito  (PI.  C,  5),  a  basilica  in  the  form  of  a  Latin  cross, 
covered  with  a  dome,  and  containing  38  chapels.  It  was  begun  about 
1436,  on  the  site  of  a  Romanesque  building,  from  a  design  by 
Filippo  Brunelleschi,  and  was  completed  in  1482,  with  numerous 
modifications,  by  Ant.  Manetti,  Salvi  d' Andrea,  and  others.  The 
noble  proportions  of  the  interior,  which  is  borne  by  31  Corinthian 
columns  and  4  pillars,  render  it  one  of  the  most  attractive  structures 
in  Florence.  The  nave  has  a  flat  roof,  while  the  aisles  are  vaulted. 
'This  church,  taking  it  all  in  all.  is  internally  as  successful  an 
adaptation  of  the  basilican  type  as  its  age  presents'  ( Feryusson).  — 
The  campanile,  erected  by  Baccio  d'Agnolo  was  restored  in  1896. 

Over  the  entrance  is  a  good  stained-glass  window  of  the  16th  century.  — 
Right  Aisle.  2nd  altar:  Pieta,  a  group  in  marble,  after  Michael  Angelo 
(original  in  St.  Peter's  at  Rome),  by  Nanni  di  Baccio  Bigio  (1549).  —  Rigut 
Transept.  3rd  altar:  Madonna  by  Donatella  (1  \  covered).  5th  altar:  'Ma- 
donna with  saints,  an  early  work  by  Filippino  Lippi  in  a  handsome  frame. 
6th  altar:  Madonna  appearing  to  St.  Bernard,  an  early  copy  from  Perugino 
(original  at  Munich).  7th  altar  (right  wall):  Monument  of  Neri  Capponi 
(d.  1457),  with  his  portrait  in  relief,  from  the  studio  of  the  brothers 
Possellino.  —  The  Choik  has  a  screen  of  marble  and  bronze;  high-altar 
with  canopy  and  statues  by  Giov.  Caccini,  about  1600.  At  the  back  of  the 
choir,  5th  altar,  The  adulteress  before  Christ  by  Alessandro  Allori.  — 
Left  Transept:  1st  altar,  Madonna  with  saints,  by  Cosimo  PosseUi;  4th  altar 
(del  Sacramento) ,  sculptured  in  marble  by  Andrea  3anscvino  (youthful 
work);  5th  altar.  Trinity  with  saint?  (fine  predella)  of  the  Florentine  School 
(ca.  1500);  7th  altar,  Sladonna  with  four  saints,  by  RaffaelHno  del  Garbo 
(1505);  over  the  8th  altar,  fine  stained-glass  with  Christ  and  the  unbeliev- 
ing Thomas  (generally  covered).  —  In  the  Left  Aisle  is  the  entrance  to 
the  *Sackisty,  a  graceful  octagonal  structure,  with  four  corner-niches, 
erected  by  Giul.  da  Sangallo  and  Cronaca  in  1489-92  behind  a  finely- 
vaulted  portico,  the  ceiling  of  which  is  by  A.  Sansovino.  —  Farther  on  in 
the  church,  beside  the  2nd  altar  from  the  entrance,  statue  of  Christ,  a  copy 
from  Michael  Angelo  (in  Santa  Maria  sopra  Minerva  at  Rome),  by  T.  Landini. 

The  First  Cloisters  were  erected  by  Alfonso  Parigi  (entrance  by  the 
sacristy).  —  The  Second  Cloisters  are  by  Ammanati  (1564),  the  paintings 
by  Poecetti.  —  The  monastery  is  now  in  part  a  barrack,  in  part  still 
occupied  by  monks. 


oftheArno.  FLORENCE.  64.  Route.    537 

At  the  S.  angle  of  the  piazza  rises  the  handsome  Palazzo 
Ouadagni,  now  Dufour-Berte  (PI.  C,  6),  an  eaily-Renaissance  edi- 
fice by  Cronaca  (15th  cent.),  with  a  loggia  in  the  upper  story  and 
a  flat  wooden  roof.  The  Via  Mazzetta  leads  hence  to  the  left  to  the 
church  of  San  Felice  (p.  547)  and  the  Casa  Guidi  (p.  547)  and  to 
the  Palazzo  Pitti  (p.  5o8).  We,  however,  follow,  in  the  meantime, 
the  Via  Sant'  Agostino  and  the  Via  Santa  Monaca,  to  the  right,  to  the 
Piazza  i>el  Carmine  (PL  B,  4,  5),  in  which  rises  the  church  of  — 

Santa  Maria  del  Carmine  (PI.  B,  5;  closed  12-2),  formerly  he- 
longing  to  the  adjoining  Carmelite  monastery,  consecrated  in  1422, 
burned  down  in  1771,  and  re-erected  within  the  following  tea 
years.  Among  the  parts  which  escaped  destruction  is  the  Bran- 
cacci  Chapel  in  the  right  transept,  embellished  after  1423(?)  by 
Masaccio,  probably  with  the  assistance  of  Masolino,  with  celebrated 
**  Frescoes  from  the  traditions  regarding  the  Apostles,  especially 
St.  Peter,  to  which  Filippino  Lippi  added  others  about  1484.  These 
frescoes  became  of  the  highest  importance  in  the  education  of  suc- 
ceeding artists  (oomp.  p.  li;  best  light  11-4  or  5  p.m.). 

They  represent:  on  the  piers  of  the  Entrance,  above,  on  the  right 
the  Fall  (Masolino?),  on  the  left  the  "Expulsion  from  Paradise  (Masaccio), 
imitated  by  Raphael  in  the  Logge  of  the  Vatican.  Left  Wall:  above, 
"Peter  taking  the  piece  of  money  from  the  fish's  mouth,  a  masterpiece  of 
compiisition  (Masaccio);  below,  SS.  Peter  and  Paul  resuscitating  a  dead 
youth  on  the  challenge  of  Simon  Magus,  and  Peter  enthroned,  with 
numerous  portraits  of  painters  and  others  (by  Filippino  Lippi).  Wall 
OF  THE  Altak:  above,  Peter  preaching  (ifaaoUno?;  'combines,  more  than 
any  other  fresco  in  the  Brancacci,  the  grandeur  of  style  which  marks  the 
group  of  philosophers  in  the  School  of  Athens  at  Rome,  and  the  high 
principle  which  presided  over  the  creation  of  the  Vision  of  Ezekiel  in 
the  Pitti  gallery'.  —  C.  li-  C),  and  Peter  baptising;  below,  Peter  healing 
the  sick,  and  distributing  alms  (these  three  by  Masaccio).  Right  Wall  : 
above.  Healing  the  cripples  (J/asacaoJ  and  Raising  of  Ta.hilha.  (Masolino ') 
—  Besides  the  above-mentioned  scenes  the  following  also  are  by  Filippino 
Lippi:  on  the  right  wall,  below,  the  Crucifixion  of  Peter,  and  Peter  and 
Paul  before  the  proconsul:  on  the  entrance-pillars,  below,  to  the  left, 
St.  Peter  in  prison  comforted  by  St.  Paul,  to  the  right,  Release  of  St.  Peter. 

The  Choir  of  the  church  contains  the  tomb  of  Piero  Soderini,  by 
Benedetto  da  Rovezzano,  1513,  restored  in  1780.  —  The  Corsini  Chapel,  to  the 
left  in  the  transept,  built  by  Silvani  in  1G70-75,  contains  the  tomb  of  St.  Andrea 
Corsini  (1301-73),  Bishop  of  Fiesole,  and  three  large  reliefs  in  marble  by 
Foggini,  in  celebration  of  the  saint;  painting  in  the  dome  by  Luca  Gior- 
dano. —  In  the  Sachistt  (entered  from  the  right  transept)  are  remains 
of  the  old  woodwork  of  the  roof  and  frescoes  from  the  history  of  St.  Cecilia 
and  St.  Urban,  by  a  follower  of  Oiotto. 

The  Cloisters  of  the  monastery  (entrance  to  the  right,  from  the  nave 
of  the  church)  contain  a  fine  fresco  of  the  Madonna  with  saints  and 
donors,  of  the  School  of  Oiotto,  and  remains  of  frescoes  by  Masaccio  (?), 
representing  a  procession.  In  the  former  Refectory  (closed)  is  a  Last 
Supper  by  Al.  Allori  (good  light  at  noon  only). 

From  the  Piazza  del  Carmine  the  Via  dell'  Orto(Pl.  B,  4)  leads 
to  the  Porta  San  Frediano  (see  p.  552). 


The  quaint  and  picturesque  Ponte  Vecchio  (Pi.  D,  6  ;  pp.  471, 
475),  over  which  the  covered  passage  mentioned  at  p.  495  is  carried, 


5P)S  r.oule  Gd.  FLORENCE,     h.  Left  Bank  of  the  Amo: 

forms  the  most  direct  communication  between  the  Piazza  della 
Signoria,  ■with  the  Ufflzi,  and  the  Palazzo  Pitti.  The  bridge  is 
flanked  with  shops,  which  have  belonged  to  the  goldsmiths  since 
the  14th  century.  A  bronze  bust  oi  Benvenuio  CeZiini  (1500-72; 
p.  471 ),  sculptor  and  goldsmith,  was  placed  here  in  1901. 

Fur  the  Via  de'  Bardi,  the  home  ol  lieorge  Eliot's  'Eomola',  which 
leads  to  the  left  just  beyond  the  Ponte  Vecchio,  see  p.  548. 

The  line  of  the  Ponte  Vecchio  is  continued  by  the  Via  de'  Guic- 
ciAKDiNi  (PL  D,  G),  which  passes  a  small  piazza  adorned  with  a  col- 
umn dating  from  the  14th  century.  Behind  it  is  the  church  of 
Santa  Felicith  (PI.  D,  6),  restored  in  1736  and  containing  an  En- 
tombment by  Pontormo  (1st  altar  to  the  right);  in  the  sacristy  is  a 
Madonna  with  four  saints  by  Taddeo  Gaddi,  and  in  the  chapter- 
room  an  Annunciation  and  Crucifixion  of  the  School  of  Giotto.  — 
Farther  on,  to  the  left  (No.  17),  is  situated  the  Palazzo  Ouicciardini, 
•where  the  historian  Francesco  Guicciardini  (1482-1540)  lived; 
opposite  to  it,  on  the  right  (No.  16),  is  the  Casa  Campigli  or  house 
of  Machiavelli  (15th  cent. ;  lately  'restored'). 

The  *Palazzo  Pitti  (PI.  C,  6),  conspicuously  situated  on  the 
slope  of  the  Boboli  hill,  was  designed  by  Brunelleschi  about  1440 
and  begun  by  Luca  Fancelli,  by  order  of  Luca  Pitti,  the  powerful 
opponent  of  the  Medici,  whom  he  hoped  to  excel  in  external 
grandeur  by  the  erection  of  the  most  imposing  palace  yet  built  by 
a  private  citizen.  The  failure  of  the  conspiracy  against  Piero  de' 
Medici  in  1466  cost  Luca  the  loss  of  his  power  and  influence,  and 
the  building  remained  nnfinished  till  the  middle  of  the  following 
cent.,  when  it  had  come,  through  a  great-grandson  of  Luca,  into 
the  possession  of  Eleonora  of  Toledo,  wife  of  Duke  Cosimo  I.  (1549). 
The  palace,  which  somewhat  resembles  a  castle  or  a  prison,  is  remark- 
able for  its  bold  simplicity,  and  the  unadorned  blocks  of  stone  are 
hewn  smooth  at  the  joints  only.  The  central  part  has  a  third  story. 
The  effectiveness  of  the  building  is  mainly  produced  by  its  fine 
proportions  (comp.  p.  xlv),  and  it  shows  'a  wonderful  union  of 
Cyclopean  massiveness  with  stately  regularity'  (Oeorge  Eliot).  The 
facade  is  119  ft.  high  and  was  originally  only  of  the  width  of  the 
present  top  story.  About  the  year  1568  Bartolomeo  Ammanati 
inserted  the  beautiful  Renaissance  windows  of  the  groundfloor,  and 
added  the  waterspouts  in  the  form  of  lions'  heads.  In  1558-70  ho 
constructed  the  large  colonnaded  court  at  the  back,  which  is  ad- 
joined by  a  grotto  with  niches  and  fountains,  and  the  Boboli  Gar- 
den beyond  them.  The  wings  of  the  palace  were  added  by  Alf. 
Parigi  after  1620,  extending  the  length  of  the  fa(;ade  from  350  ft. 
to  672  ft.    The  two  projecting  pavilions  were  added  about  1768. 

In  1550  the  Pitti  Palace  superseded  the  Palazzo  Vecchio  (p.  472) 
as  the  residence  of  the  reigning  sovereign,  and  it  is  now  that  of  the 
King  of  Italy  when  at  Florence.  The  upper  floor  of  the  left  wing 
contains  the  far-famed  **PictTire  Gallery  (OnUeria  Palatina),  which 


Palazzo  Pitti.  FLORENCE.  64.  Route.    539 

was  formerly  the  property  of  Cardinals  Leopold  and  Carlo  de'  Medici, 
and  of  the  Grand-Duke  Ferdinand  IL  —  The  Pitti  Gallery,  tastefully 
rearranged  in  1904  by  the  general  director  Dr.  Corrado  Ricci  (p.  484), 
contains  about  500  works,  and  may  be  regarded  as  an  extension  of 
the  Tribuna  (p.  491)  in  the  Uftizi  Gallery.  No  collection  in  Italy 
can  boast  of  such  an  array  of  masterpieces,  interspersed  with  so 
few  works  of  subordinate  merit.  The  most  conspicuous  work  of  the 
earlier  Florentine  period  is  the  round  Madonna  by  Filippo  Lippi 
(No.  343;  p.  544).  Perugino's  Pietk(164;  p.  542),  in  which  the 
treatment  of  the  landscape  deserves  notice,  is  one  of  his  principal 
works.  To  Fra  Bnrtolomen''s  later  period  belong  the  Madonna 
enthroned  (208 ;  p.  541),  the  Resurrection  (159;  p.  542),  the  Iloly 
Family  (256;  p.  544),  and  the  Pieta,  (64  ;  542),  the  master's  last 
work,  a  model  of  composition,  ennobled  by  depth  of  sentiment 
and  purity  of  forms,  and  certainly  one  of  the  most  beautiful  pro- 
ducts of  Italian  art.  Andrea  del  Sarto,  the  great  colourist,  is  ad- 
mirably represented  by  an  Annunciation  (124;  p.  642);  by  the 
so-called  Disputa  (172;  p.  542),  a  picture  without  action,  but  of 
an  imposing  and  dignified  character;  a  Pietk  (58;  p.  543),  more 
dramatically  treated  than  is  the  master's  wont;  and  the  Madonna 
with  saints  (307;  p.  544),  all  of  which  show  his  different  excellen- 
cies ,  and  particularly  the  soft  blending  of  his  colours.  —  The 
treasures  of  the  gallery  culminate  in  no  fewer  than  a  dozen  of 
Raphael's  works.  The  exquisite  'Madonna  del  Granduca'  (178; 
p.  541),  in  which  a  pure  type  of  simple  female  beauty  is  but 
slightly  veiled  by  the  religious  character  of  the  work,  and  the 
'Madonna  della  Sedia'  (151 ;  p.  542),  a  most  beautiful  work  of 
purely  human  character,  in  which  intense  maternal  happiness  is 
expressed  by  the  attitude  of  the  group,  both  captivate  every  be- 
holder. The  'Madonna  del  Baldacchiuo'  (165;  p.  542),  on  the 
other  hand,  and  the  'Madonna  dell'  Impannata'  (No.  94;  p.  543), 
are  of  inferior  interest  and  are  not  entirely  by  Raphael's  own  hand. 
The  Vision  of  Ezekiel  (174 ;  p.  541),  likewise  completed  by  his 
pupils,  transports  us  into  an  entirely  different  sphere,  in  which 
Raphael  treats  a  mediasval  symbolical  subject.  The  finest  of  the 
portraits  is  that  of  Leo  X.  with  the  two  cardinals  (40;  p.  543),  in 
which  the  delicate  and  harmonious  blending  of  the  four  shades  of 
red  should  be  noticed.  The  portrait  of  Julius  II.  (79;  p.  544) 
exhibited  here  is  now  regarded  as  a  Venetian  copy  of  the  original 
in  the  Tribuna  (p.  492).  The  portraits  of  Cardinal  Bibbiena  (158; 
p.  542)  and  Inghirami  (171 ;  p.  542)  are  also  now  admitted  to  bo 
early  copies.  In  the  'Donna  Velata'  (245;  p.  543)  we  recognize 
Raphael's  mistress,  whom  a  later  groundless  tradition  has  described 
as  a  baker's  daughter  ('Fornarina').  The  same  beautiful  features 
recur  in  the  Sistine  Madonna  at  Dresden.  The  portraits  of  Angiolo 
and  Maddalena  Doni  (61,  69;  p.  642),  of  the  master's  Florentine 
period,    are   of  unquestioned  authenticity,  though  they  display 


54:0   Route  6d.  FLORENCE,     h.  Left  Bank  of  the  Amo : 

neither  the  independence  of  conception  nor  the  finished  mastery 
of  his  later  Roman  portraits.  The  'Gravida' (229 ;  see  helow)  is 
not  free  from  doubt.  —  The  Venetian  School  also  occupies  an  im- 
portant place  in  the  Pitti  Gallery.  Thus  Oiorgione^s  Concert  (185  ; 
p.  541);  Sebastiano  del  Piombo's  St.  Agatha  (179  ;  p.  541);  Titian's 
portraits  of  Cardinal  Ippolito  de'  Medici  (201 ;  p.  541),  Aretino  (54 ; 
p.  543),  and  the  Young  Englishman  (92;  p.  543),  his  Bella  (18; 
p.  542),  and  his  Mary  Magdalen  (67;  p.  543);  Tintoretto's  Vulcan 
■with  Venus  and  Cupid  (3;  p.  544).  An  excellent  work  of  a  later 
period  is  Cristofano  Alloris  Judith  (96;  p.  544).  —  Among  the 
non-Italian  pictures  we  must  mention  two  landscapes  (9,  14 ; 
p.  544),  four  portraits  (85 ;  p.  543),  and  the  Allegory  of  War  (86  ; 
p.  543),  \ty  Rubens;  Cardinal  Bentivoglio  (82;  p.  543),  by  Van 
Dyck  ;  two  portraits  (16,  60  ;  p.  543)  by  Rembrandt ;  and  lastly  the 
equestrian  portrait  of  Philip  IV.  (243;  p.  543),  by  Velazquez. 

The  Entrance  (comp.  p.  464)  is  in  the  E.  angle  of  the  Piazza 
Pitti,  in  the  archway  leading  to  the  Boboli  Garden.  (Or  we  may 
approach  the  gallery  by  the  connecting  passage  from  the  Ufflzi; 
sticks  and  umbrellas,  see  p.  495). 

Tickets  are  obtained  in  the  vestibule,  to  the  right.  The  Scala 
del  Re,  a  new  staircase  in  pietra  serena,  constructed  by  Luigi  del 
Moro  in  1895-96  in  the  style  of  Brunelleschi,  leads  to  a  large  ante- 
chamber, with  a  richly  coffered  ceiling  and  a  marble  fountain  of 
the  Renaissance,  by  Franc,  di  Simone(^},  from  the  Villa  Reale  di 
Castello  (p.  554).  The  adjoining  room,  with  the  ingress  from  the 
Ufflzi,  contains  a  large  basin  of  porphyry. 

The  gallery  extends  through  a  suite  of  splendid  saloons,  richly 
adorned  in  the  baroque  style  by  Pietro  da  Cortona  (ca.  1640)  and 
embellished  with  allegorical  ceiling-paintings  whence  their  names 
are  derived.  They  are  sumptuously  fitted  up  with  marble  and 
mosaic  tables,  vases,  and  velvet-covered  seats,  but  are  very  cold  in 
winter.  The  pictures  are  provided  with  the  name  of  the  artist  and 
the  subject  represented.    Catalogue  (1902;  in  French),  21/2  fr. 

The  six  principal  saloons  are  first  visited ;  the  entrance  was 
formerly  at  the  opposite  extremity,  so  that  the  numbers  of  the 
pictures,  as  enumerated  below,  are  now  in  the  reverse  order.  We 
then  return  to  the  saloon  of  the  Iliad,  and  enter  the  saloon 
of  the  Education  of  Jupiter  (p.  544),  which  adjoins  it  on  the  south. 
In  each  room  we  begin  with  the  entrance-wall. 

SAiooN  OF  THE  Iliad,  SO  named  from  the  subject  of  the  fres- 
coes by  Luigi  Sabatelli.  —  Above  the  door,  230.  Parmigianino, 
Madonna  with  angels  (Madonna  del  collo  lungo);  229.  Portrait  of 
a  lady,  long  attributed  to  Raphael  (known  as  'La  Donna  Gravida') ; 
228.  Titian,  Half-length  of  the  Saviour,  a  youthful  work.  —  *225. 
A.  del  Sarto,  Assumption. 

This  picture  shows  with  what  versatility  Del  Sarto  was  gifted.  It 
is  marked  by  quiet  and  orderly  distribution,  and  something  reminiscent  of 


Palazzo  Pitti.  FLORENCE.  64.  Route.    541 

Kra  Barlolommeo.  The  Virgin  is  raised  up  towards  heaven  most  gracefully, 
and  there  is  an  atmosphere  almost  like  Correggio's  in  the  glory  (C.  cC-  C). 
'At  Florence  only  can  one  trace  and  tell  how  great  a  painter  and  how 
various  Andrea  was.  There  only,  but  surely  there,  can  the  spirit  and  pre- 
sence of  the  things  of  time  on  his  immortal  spirit  be  understood"  (Swinhwiie). 

224.  Rid.  Ohirlandalo  (V),  Portrait  of  a  lady  (1509);  223.  Barend 
van  Orley  (?;  uot  Matsys),  Portrait;  218,  Salvator  Rosa,  A  warrior. 
—  *216.  Paolo  Veronese,  Daniel  Barbaro,  Venetian  savant  and 
ambassador  to  England;  215.  Titian,  Portrait,  probably  of  Don 
Diego  de  Mendoza  (badly  preserved);  214.  Copy  of  Corrcyyio's Ma- 
donna di  San  Girolamo  (p.  369) ;  *208.  Fra  Bartolomeo,  Madonna 
enthroned,  with  saints  and  angelic  musicians  (1512;  injured);  207. 
Rid.  Ghirlandaio,  Portrait  of  a  goldsmith ;  *201.  Titian,  Cardinal 
Ippolito  de'  Medici  in  Hungarian  costume,  painted  in  1532,  after 
the  campaign  against  the  Turks,  in  which  the  cardinal  had  taken 
part;  200.  Titian,  Philip  II.  of  Spain  (copy  of  the  original  in  the 
Prado  at  Madrid). 

*191.  Andrea  deZSarto,  Assumption  (last,  unfinished  work,  with 
a  portrait  of  the  artist  as  one  of  the  Apostles);  *190.  Sustermans, 
Count  Waldemar  Christian,  son  of  Christian  IV.  of  Denmark;  188. 
Salvator  Rosa,  Portrait  of  himself ;  184.  Andrea  del  Sarto,  Portrait 
(injured). 

**185.  Oiorgione  (according  to  Morelli  a  youthful  work  of  Ti- 
tian; badly  preserved),  'The  Concert',  representing  an  Augustine 
monk  who  has  struck  a  chord,  another  monk  with  a  lute,  and  a 
youth  in  a  hat  and  plume  listening. 

'In  one  of  the  simplest  arrangements  of  half  lengths  which  it  is 
possible  to  conceive,  movement,  gesture,  and  expression  tell  an  entire 
tale.  .  .  .  The  subtlety  with  which  the  tones  are  broken  is  extreme,  but 
the  soberness  of  the  general  intonation  is  magical.  Warm  and  spacious 
lights,  strong  shadows,  delicate  reflections,  gay  varieties  of  tints,  yield  a 
perfect  harmony  .  .  .  How  fresh  and  clean  are  the  extremities,  and  with 
what  masterly  ease  they  are  done  at  the  finish?  What  sleight  of  hand  in  the 
furs,  what  pearly  delicacy  in  the  lawn  of  the  white  sleeves ?'i —  C.  &  C. 

237.  Rosso  Fiorentino,  Madonna  enthroned,  with  saints. 

Saloon  of  Saturn.  Ceiling-painting  by  Pietro  da  Cortona. 
Above  the  door,  179.  Sebastiano  del  Piomho,  Martyrdom  of  St. 
Agatha  (1520;  showing  Michael  Angelo's  influence). 

**178.  Raphael,  Madonna  del  Granduca,  a  work  of  the  master's 
Florentine  period,  formerly  in  the  grand-dttcal  apartments. 

'Painted  in  light  colours  and  modelled  with  extraordinary  delicacy, 
the  picture  captivates  us  chiefly  by  the  half-concealed  beauty  of  the  Ma- 
donna, who,  scarcely  daring  to  raise  her  eyes,  rejoices  over  the  Child 
with  tender  bashfulness.  The  Infant,  held  by  the  mother  with  both  hands, 
gazes  straight  out  of  the  picture  and  possesses  all  the  charming  grace 
which  characterises  Raphael's  later  representations  of  children."  —  Springer. 

*174.  Raphael,  Vision  of  Ezekiel :  God  the  Father,  enthroned 
on  the  living  creatures  of  three  of  the  Evangelists,  is  adored  by 
the  angel  of  St.  Matthew. 

'Even  in  his  imitation  of  Michaelangelesque  types  Raphael  exhibits 
^reat   freedom  and   the  clearest  consciousness  of  what  is  best  adapted  to 


542    llouUOl.  FLORENCE,      h.  Left  Bank  of  the  Arno: 

his  natural  gifta  and  of  where  his  true  strength  lies.  This  remark  applies 
to  the  small  picture  of  Ezekiel  in  the  Pitti  Gallery,  so  miniature-like  in  its 
fineness  of  execution,  though  less  striking  in  the  colouring.  In  the  arrange- 
ment of  the  two  smaller  angels  who  support  the  arms  of  the  Almighty, 
the  example  of  Michael  Angelo  was  followed.  From  the  testimony  of  Va- 
sari,  however,  we  know  that  in  portraying  Jehovah,  Raphael  sought  in- 
spiration in  the  classical  Jupiter,  and  certainly  the  features  strongly  recall 
the  types  of  the  antique  divinity'.  —  Springer. 

Raphael^  *61.  Angiolo  Doni,  the  friend  of  the  painter;  *59. 
Maddalena  Strozzi-Doni,  wife  of  Angiolo. 

These  portraits  were  painted  during  the  Florentine  period  of  the  artist 
(about  1505).  No.  61  recalls  the  painter's  intercourse  with  Franc.  Francia, 
while  the  other  suggests  the  influence  of  Leonardo  da  Vinci. 

*172.  A.  del  Sarto ,  Conference  of  the  Fathers  of  the  Church 
regarding  the  doctrine  of  the  Trinity  (the  'Disputa'),  painted  in  1517. 

*171.  Raphael,  Tommaso  Fedra  Inghirami,  humanist  and  papal 
secretary  (original  in  America). 

'The  fact  that  the  man  is  represented  at  a  moment  of  wrapt  susi^ense 
and  inward  concentration  diverts  the  attention  from  the  unpleasing  fea- 
tures, and  ennobles  and  idealises  the  head,  which,  while  certainly  not 
handsome,  cannot  be  denied  the  possession  of  intellect  and  a  nameless 
power  of  attraction'.  —  Springer. 

*165.  Raphael,  Madonna  del  Baldacchino. 

This  picture  dates  from  the  period  of  his  intercourse  with  Fra  Bar- 
tolomeo,  and  was  left  uncompleted  on  the  migration  of  the  master  to 
Rome  in  1509.    It  was  finally  completed  by  OiuUo  Romano  and  others. 

164.  Pietro  Perugino,  Entomhment  (Pietk,),  painted  in  1495  ; 
161.  Bonifazio  /.,  Finding  of  Moses;  *159.  Fra  Bartolomeo,  Risen 
Christ  among  the  four  Evangelists  ( 1516;  injured).  —  *158.  Ra- 
phael, Portrait  of  a  cardinal,  said  to  be  Card.  Dovizi  da  Bibbiena 
(copy;  the  original  at  the  Prado  in  Madrid), 

**151.  Raphael,  Madonna  della  Sedia  (or  Seggiola),  painted 
during  the  artist's  Roman  period. 

'In  this  picture  Raphael  returns  to  the  early  and  simple  subjects  of 
representation,  breathing  nothing  but  serene  happiness,  which  gladden 
the  artist  and  charm  the  beholder ,  which  say  little  and  yet  possess  so 
deep  a  significance.  Florentine  forms  have  been  supplanted,  by  Roman 
ones,  and  tender  and  clear  beauty  of  colouring  has  given  place  to  a  broad 
and  picturesque  style  of  laying  on  the  pigments.  ...  At  least  fifty  en- 
gravers have  tried  their  skill  upon  the  Madonna  della  Sedia,  and  photo- 
graphic copies  have  been  disseminated  by  thousands.  No  other  picture 
of  Raphael  is  so  popular,  no  other  work  of  modern  art  so  well  known'.  — 

Springer. 

147.  Dosso  Dossi  (Giorgione^),  Nymph  pursued  by  a  satyr;  149. 
Pontormo  (more  probably  Ang.  Bronuno  ?),  Guidobaldoll.,  Duke  of 
Urbino;  148.  Dosso  Dossi,  Merry  party. 

Saloon  of  .Tupiter.  Ceiling-painting  by  Pietro  da  Cortona. 
*18.  Titian,  'La  Bella  di  Tiziano',  painted  about  1536,  probably  the 
Duchess  Eleonora  of  Urbino,  represented  in  No.  605  and  No.  1 1 17  in 
the  Ufflzi  (see  pp.  489,  492);  **64.  Fra  Bartolomeo,  Pieta  (p.  539); 
138.  Salvator  Rosa,  Battle  (the  figure  on  the  left,  above  the  shield, 
with  the  word  Saro,  is  the  painter's  portrait);  131.  Tintoretto,  Vin- 
cenzo  Zeno.  —  1*25.  Fra  Bartolomeo,  St.  Mark,  painted  under  the 
influence  of  Michael  Angelo  (ca,  1515);   Andrea  del  Sarto,  *124. 


I'alMiO  Pitti.  FLORENCE.  64.  Route.    548 

AnnunciatioD,  123.  Madonna  in  glory  witli  four  saints  (1520;  in- 
jured); 121, 128.  Moroni,  Portraits.  —  *243.  Velaz-quez,  Equestrian 
portrait  of  Philip  IV.  of  Spain,  a  sketch  or  small  replica  of  the 
painting  at  the  Prado  (16i-i5);  118.  A.  del  Sarlo,  Portraits  of  the 
artist  and  his  wife  Lucrezia  del  Fede  (injured);  *245.  Raphael,  'La 
Donna  Velata' (the  lady  with  the  veil),  the  artist's  mistress,  painted 
about  1515  (injured);  *1 10.  Lor.  Lotto  (•?),  The  Three  Periods  of 
Life  (retouched);  109.  Paris  Bordone,  Portrait  (known  as  the  'Nurse" 
of  the  Medici  family');  111.  Salvator  Rosa,  Conspiracy  of  Catiline. 

Saloon  of  Mass.  Ceiling-painting  by  Pietro  da  Cortona.  — 
*16.  Rembrandt,  "The  Rabbi',  portrait  of  an  old  man  (a  late  work; 
ca.  1658);  *85.  Rubens,  'The  Four  Philosophers':  Rubens  with  his 
brother  and  (r.)  two  unknown  scholars  (ca.  1612);  *83.  Tintoretto, 
Portrait  of  Luigi  Cornaro.  —  80.  Titian,  Portrait  of  Vesalius,  the 
anatomist  (injured). 

**86.  Rubens,  The  Terrors  of  War,  Mars  going  forth  (1638). 

An  admirably  preserved  and  wonderful  creation,  the  permanent  and 
Tinforgettable  frontispiece  to  the  Thirty  Years'  War,  drawn  by  the  hand 
of  the  one  and  only  artist  that  in  the  loftiest  sense  was  called  to  the 
work.  —  Burckhardi. 

94.  Raphael,  Holy  Family,  called  Madonna  dell'  Impannata  (i.e. 
'with  the  linen  window'),  an  extension  of  an  originally  simpler  com- 
position and  largely  executed  by  pupils;  93.  Rubens,  St.  Francis 
(a  youthful  work).  —  *81.  A.  del  Sarto,  Holy  Family,  the  colouring 
most  delicately  blended  ;  above,  139,  235.  Rubens,  Holy  Family  ; 
*82.  Van  Dyck,  Cardinal  Guide  Bentivoglio,  aristocratic  and  easy 
(ca,  1624).  —  On  an  easel,  **92.  Titian,  Portrait  known  as  'the 
Young  Englishman'  (a  very  striking  ami  interesting  type). 

Saloon  of  Apollo.  Ceiling-paintings  hy  Pietro  da  Cortona  and 
Giro  Ferri.  —  *67.  Titian,  Magdalen  (ca.  1532),  painted  for  the 
Gonzaga  family. 

'It  is  clear  that  Titian  had  no  other  view  than  to  represent  a  hand- 
some girl.  He  displays  all  his  art  in  giving  prominence  to  her  shape.  In 
spite  of  the  obvious  marks  of  haste  which  it  bears,  it  displays  a  beauty 
of  such  uncommon  order  as  to  deserve  all  the  encomiums  which  can  be 
given  to  it'.  —  G.  d-  C. 

*66.  Andrea  del  Sarto,  Portrait  of  himself  (?;  injured);  63. 
Murillo,  Madonna ;  62.  A.  del  Sarto,  Holy  Family  (1621) ;  60.  Rem- 
brandt, Portrait  of  himself,  beardless  (about  1635);  *58.  A.  del 
Sarto,  Pieta  (^1524);  57.  Giulio  Romano  (J),  Copy  of  Raphael's  Ma- 
donna della  Lucertola  in  Madrid ;  56,  Murillo,  Madonna.  —  *54. 
Titian,  Pietro  Aretino,  the  celebrated  verse-writer  and  pamphleteer, 
a  work  described  by  Aretino  himself  as  a  'hideous  marvel',  masterly 
in  its  characterization  (1545);  88,  87.  Andr.  del  Sarto,  History  of 
Joseph  (painted  on  lids  of  chests);  137.  Giov.  da  San  Giovanni, 
The  hunters,  —  43.  Franciabigio,  Portrait  (1514). 

**40.  Raphael,  Pope  Leo  X,  and  the  cardinals  Giulio  de'  Medici 
and  Lodovico  de' Rossi,  not  nndamaged  ,  but  still  justifying  Va- 
sari's  entbusiastic  praise  :    'No  master  has  ever  produced,  or  ever 


M4:   Route  64.  FLORENCE,     h.  Left  Bank  of  the  Arno: 

will  produce,  anything  better'.   Giulio  Romano  shared  the  execu- 
tion, the  cardinal  to  the  right  of  the  pope  heing  probahly  by  him. 
*150.  Cornelh  Janssens,  Charles  I.  of  England  and  his  consort 
Henrietta  Maria. 

Saloon  of  Venus.  Ceiling-painting  by  Pietro  da  Cortona.  — 
20.  A.  Durer,  Adam,  with  the  Eve  (No.  1 ,  see  below),  probably 
only  copies  by  Hans  Balduncj  Grien  of  the  originals  in  the  Museo 
del  Prado  at  Madrid:  'the  most  perfect  treatment  of  the  nude  yet 
produced  by  northern  art'  (Thausing).  140.  Giul.  Bugiardini  (?), 
Portrait  of  a  lady  ('La  Monaca');  17.  Titian,  Betrothal  of  St.  Catha- 
rine (copy,  original  in  London);  15.  Salvator  Rosa,  Sea-piece.  — 
13.  Matteo  Rosselli,  Triumph  of  David ;  Rubens,  **14.  Hay-harvest 
(near  Malines),  *9.  Ulysses  on  the  island  of  the  Phaeacians,  ap- 
pearing to  Nausicaa.  —  4.  Salvator  Rosa,  Harbour  at  sunrise;  *79. 
Raphael,  Pope  Julius  II.  (copy,  from  the  studio  of  Titian^  ;  over  the 
door,  3.  Tintoretto,  Cupid,  Venus,  and  Vulcan;  1.  A.  Di'trer,  Eve, 
companion  piece  to  No.  20.  —  We  return  hence  to  the  Saloon  of 
the  Iliad,  and  thence  enter  the  — 

Saloon  of  the  Education  of  Jupiter.  Ceiling-painting  by 
Catani.  —  Above  the  door,  256.  Fra  Bartolomeo ,  Holy  Family, 
resembling  Raphael's  Madonna  Canigiani  at  Munich  (much  injured; 
the  original  is  in  the  Corsini  Gallery,  at  Rome);  257.  Bonifazio  II., 
Sibyl  prophesying  to  Augustus.  — 264.  Tintoretto,  Resurrection; 
*96.  Cristof.  Allori,  Judith;  272.  A.  del  Sarto,  John  the  Baptist 
(1523;  badly  restored).  —  Opposite,  246.  Boccaccio  Boccaccino, 
Gipsy;  248.  Tintoretto,  Descent  from  the  Cross.  —  255.  A.  de 
Vries^^}),  Portrait. 

We  now  turn  to  the  left  into  the  Saxa  della  Stofa.  The  frescoes, 
illustrating  the  golden,  silver,  brazen,  and  iron  ages  are  by  Pietro  da 
Cortona;  ceiling-paintings  \>y  Matteo  Rosselli,  iQ22.  —  Returning  hence  and 
traversing  a  short  passage,  we  observe  on  the  left  a  .small  Bath  Room, 
most  tastefully  fitted  up,  with  pavement  of  modern  Florentine  mosaic,  and 
four  small  statues  of  Venus  by  Qiovanni  Insom  and  Salvatore  Bongiovanni. 

Saloon  of  Ulysses.  Ceiling-painting  by  Oasparo  Martellini, 
representing  the  return  of  Odysseus,  an  allusion  to  the  restoration 
of  the  grand-duke  Ferdinand  III.  after  the  revolution.  —  306. 
Salvator  Rosa,  Landscape;  307.  A.  del  Sarto,  Madonna  with  saints 
(spoiled).  — ■  320.  Ag.  Carracci,  Landscape  (in  opaque  colours);  326. 
Titian  (not  Paris  Bordone) ,  Pope  Paul  III.  Farnese  (original  at 
Naples). 

Saloon  of  Prometheus,  with  paintings  by  Giuseppe  Colignon. 
341.  Eusebio  di  San  Giorgio,  Adoration  of  the  Magi. 

*343.  Fra  Filippo  Lippi ,  Madonna  and  Child ;  in  the  back- 
ground SS.  Joachim  and  Anna,  and  the  Nativity  of  Mary. 

'The  drawing  and  the  modelling  of  the  flesh  remind  us  that  the  age 
was  one  in  which  the  laws  of  bas-relief  were  followed  in  painting.' —  C.  d;  C. 

377.  Mariotto  Alberlinelli,  Ecce  Homo  (fresco).  —  358.  Dom. 
Ghirlandaio,  Adoration  of  the  Magi,  a  replica  of  the  painting  in  the 


Palazzo  rati.  FLORENCE.  64.  Route.    545 

Ufflzi  (p.  490);  348.  School  of  Botticelli,  Madonna  and  angels ;  355. 
Luca  Signorelli,  Holy  Family  and  St.  Catharine ;  365.  Mariotto  Alber- 
tinelli,  Holy  Family.  —  382.  Sodoma,  Portrait.  —  384.  Piero  Polla- 
iaolo,  St.  Sebastian.  —  The  — 

Galleeia  PoccETTi, -which  we  next  enter,  derives  its  name  from 
the  ceiling-paintings  by  Bernardino  Poccetti.  487. DossoDosai, Repose 
on  the  Flight  into  Egypt,  -with  fine  landscape ;  *495.  Titian,  Portrait 
of  Tommaso  Mosti  (lo'iB).  Also,  Bust  of  Napoleon  I.,  by  Canova. 
—  From  the  Prometheus  Room  we  next  enter  (to  the  right)  a  — 

CoRRii'OE,  on  the  walls  of  which  are  a  number  of  miniature 
portraits  (1G-I8th  cent.)  and  some  good  paintings  of  the  15th  cent- 
ury. To  the  left:  *376.  Lor.  Costa,  Portrait  of  Giovanni  II.  Benti- 
voglio;  *37o.  Manteana,  Portrait  (apparently  an  early  copy?).  To 
the  right :  42.  Pietro  Perugino,  Mary  Magdalen ;  372.  S.  Botticelli 
(more  probably  Andr.  del  Cadagno?'),  Portrait  of  a  youth ;  44.  Style 
of  Rapliael,  Portrait  of  a  youth. 

Saloon  of  Justice.  *409.  Sebastian  del  Piombo ,  Bust  of  a 
bearded  man,  iu  the  artist's  later  Roman  style;  398.  Artemisia 
Oentileschi,  Judith;  403.  Bronzino,  Portrait  of  Duke  Cosimo  I. ,  408. 
Sir  Peter  Lely,  Oliver  Cromwell  (sent  by  the  Protector  to  the  Grand- 
Duke  Ferdinand  II.). 

Sat.oon  of  Flora.  In  the  centre,  Venus  by  Canova.  ilb.Suster- 
inans,  Grand-Duke  Ferdinand  II.  de'  Medici;  441,421.  Gasjmrd 
Pousiiyi,  Landscapes;  423.  Titian,  Adoration  of  the  Shepherds  (in- 
jured); 427.  Francia&j(/io,  Calumny,  after  Apelles  (comp.  No.  1182, 
p.  491);  429.  J.  van  Ruysdael,  Landscape  with  waterfall ;  *434. 
Any.  Bronzino,  Portrait  of  an  engineer;  436,  416.  G.  Pomsin,  Land- 
scapes; 435.  Giov.  di  San  Giovanni,  The  cook  ;  437.  Van  Dyck,  Re- 
pose on  the  Flight  into  Egypt  (copy) ;  437.  Van  Dyck  (?),  Holy 
Family  with  angels. 

Saloon  of  the  Children  (Sala  de'  PuttiJ.  Rachel  Ruysch,  451. 
Fruit,  455.  Fruit  and  flowers;  453.  Salvator  Rosa,  Landscape, 
known  as  'La  Pace'  (injured);  above,  449,  452.  Paul  Bril,  Italian 
landscapes;  ibl.  H.  Dubbels,  Sea-piece;  462.  Jan  van  Huy sum, 
Flowers;  *470.  Salvator  Rosa,  Landscape,  with  Diogenes  throwing 
away  his  driuking-cup  ("ia  selva  dei  filosop');  474.  Domenichino, 
Landscape,  with  Diana  and  Action ;  476.  Andrea  del  Sarto,  Madonna. 

On  the  groundfloor  of  the  palace  are  the  Silver  Chamber  and 
Collection  of  Porcelain  (Museo  degli  Argenti  Antidii  e  delle  Cera- 
miche);  entrance  to  the  left  in  the  first  court;  adm.,  see  p.  464. 

Room  I.  Vestments  of  popes  and  cardinals  belonging  to  the  house  of 
Medici;  plate  and  ivory  carvings  of  the  school  of  Qiovanni  da  Bologna. 

Room  II.  Porcelain,  inrluding  specimens  from  China  and  Japan.  Of 
the  European  factories  Ginori  (p.  553),  Capodimonte,  Sevres,  Meissen,  and 
Vienna  are  especially  well  represented. 

Room  III.  Allegorical  frescoes  by  Giov.  di  San  Qiovanni,  Franc.  Furini, 
and  others.  Bronzes,  goldsmiths'  work,  and  table  fervices,  mostly  from  the 
possession  of  the  Medici.  Beside  the  window  at  the  entrance  is  a  large 
bronze  Crucifix  by  Giov.  da  Bologna;  also,  line  Limoges  enamels  (16th  cent.). 

Baeuekuk.    Italy  1.    I3th  Edit.  35 


546    Route  6d.  FLORENCE.  h.  Left  Bank 

1st  Case  to  the  left:  Large  golden  dish,  with  a  representation  of  Orpheus 
(ca.  16G0).  Central  Case  :  Four  golden  goblets  and  a  vase  of  the  same  period. 
In  two  desk-cases  behind  are  54  oval  fruit-dishes,  with  representations  of 
the  twelve  months  and  mythological  scenes.  On  the  end-wall,  Pietro  Tacca, 
Crucifixion  (bronze). 

The  Eoyal  Apartments  are  sumptuously  furnished,  tut  only 
those  on  the  first  floor  are  shown  to  the  public.  Adm.,  see  p.  464; 
a  staircase,  built  in  1852  by  Poccianti,  ascends  to  the  right  from 
the  first  court. 

We  first  enter  the  Ball  Room,  which  is  richly  decorated  in  the  classi- 
cist style  (the  stucco  ornaments  by  Giocondo  Albtrlolii).  —  The  Sala  di 
Bona,  or  dining-room,  is  frescoed  by  Bern.  Poccetti.  —  Next  come  the 
King's  private  apartments  in  the  classicist  style  (Madonna  by  ^.  dei  <Sar<o, 
in  the  bedroom)  and  the  Queen's  apartments,  luxuriously  furnished  (Por- 
trait of  a  duchess  of  I'rbino  or  some  other  titled  lady,  by  Titian^  in  the 
ante-room).  —  We  now  return  and  enter  the  State  Apartments  (Appartamenio 
Ufliciale).  Room  I.  Botticelli,  'So-called  Pallas,  painted  lor  Lorenzo  the 
Magnificent :  the  genius  of  the  House  of  Medici  grasping  a  Centaur  by  the 
hair,  perhaps  an  allegorical  representation  of  some  successfully  Irustrated 
conspiracy.  Botticelli,  Madonna  in  the  bower  of  roses  (studio-piece);  Copy 
of  Leonardo  da  Vinci  s  Madonna  in  the  grotto.  In  the  Throne  Room  are  some 
magnificent  Japanese  vases.  The  ante-room  (Anticamera)  contains  paint- 
ings by  /.  M.  iVattier  and  fine  tapestry.  In  the  banqueting-room  and  the 
gallery  are  a  few  ancient  statues;  pretty  view  of  the  palace-court  and  the 
amphitheatre  (see  below). 

The  *Boboli  Garden  (Reale  Oiardino  di  Boboli,  PI.  A-D,  7; 
adm.,  see  p.  464),  at  the  back  of  the  palace,  extends  in  terraces  up 
the  hill.  It  was  laid  out  by  Tribolo  in  1550,  under  Cosimo  I.,  and 
extended  by  Bern.  Buontalenti  and  Qiov.  da  Bologna,  and  commands 
a  succession  of  charming  views  of  Florence  with  its  palaces  and 
churches,  among  which  the  Pal.  Vecchio,  the  dome  and  campanile 
of  the  cathedral,  and  the  tower  of  the  Badia  are  conspicuous.  The 
long  walks,  bordered  with  evergreens,  and  the  terraces,  adorned  with 
vases  and  statues,  attract  crowds  of  pleasure-seekers  on  Sundays. 

On  passing  the  entrance  (PI.  I),  6;  comp.  also  p.  540),  we  first 
observe,  in  a  straight  direction,  a  Geotto  with  four  unfinished 
statues  of  captives,  modelled  by  Michael  Angela  for  the  monument 
of  Pope  Julius  II.  In  the  background  is  a  statue  of  Venus  by  Qio- 
vanni  da  Boloyna.  —  The  Main  Path  sweeps  upwards  to  the  so- 
called  Amphitheatre  {V\.  C,  7),  an  open  space  at  the  back  of  the 
palace,  enclosed  by  oak-hedges  and  rows  of  seats,  which  was  formerly 
employed  for  festivities  of  the  court.  On  the  right,  a  handsome 
fountain,  in  the  centre,  an  Egyptian  obelisk  and  an  ancient  basin 
of  gray  granite.  Steep  paths  ascend  to  the  S.  from  the  amphitheatre 
to  the  Basin  of  Neptune  (PI.  C,  D,  7),  adorned  with  a  statue  of 
the  god  by  Stoldo  Lorend  (1565);  then,  higher  up,  the  statue  of 
Abbondanza,  by  Giovanni  da  Bologna  and  Pietro  Tacca,  erected  In 
1636  to  commemorate  the  fact  that  during  the  general  distress  in 
Italy  occasioned  by  v?ar,  Tuscany  alone,  under  Ferdinand  II.,  re- 
velled in  plenty.  At  the  very  top  (gate-keeper  20  c.)  is  the  small 
Giardino  iiEL  Cavalieee  ,  laid  out  by  Card.  Leopold  on  one  of 
Michael  Angelo's  bastions  (p.  549)  beside  the  Fortezza  di  Belvedere 


of  the  Arno.  FLORENCE.  64.  Route.   547 

(p.  548)  and  affording  beautiful  views.  —  The  alley  at  the  N.E. 
corner  of  the  Neptune  basin  leads  to  the  Casino  Belvedere  (PI.  D,  7), 
from  the  lofty  roof  of  which  a  line  *View  of  the  city  is  obtained 
(fee  15-20  c). 

We  now  return  to  the  Basin  of  Neptune  and  follow  the  alley 
leading  from  its  N.W.  corner  to  a  lawn,  also  affording  a  fine  view. 
We  may  descend  direct  from  this  point,  but  it  is  better  to  follow 
tlie  Viotlolone  to  the  S.W.,  a  beautiful  cypress  avenue  adorned  with 
statues  and  leading  past  a  small  orangery  to  the  charming  Vasca 
uell'  IsoLOTTo  (PL  B,  7).  In  the  centre  of  this  basin,  on  an  island 
planted  with  flowers,  rises  a  fountain  surmounted  by  a  colossal  statue 
of  Oceanus  and  figures  of  three  river-gods  by  Olovanni  da  Bologna. 
The  surrounding  walks  are  chiefly  embellished  with  'genre'  works. 

To  the  right  of  the  Oceanus  basin  a  broad  path,  parallel  with 
the  palace,  is  reached,  which  leads  past  a  lemon-house  to  the  prin- 
cipal entrance.  Another  exit,  reached  by  a  side-path  diverging  to 
the  left,  immediately  beyond  the  lemon-house  and  near  a  fountain 
with  Bacchus  on  the  lion,  leads  into  the  Via  Romana. 

A  little  to  the  S.  of  tlie  above-mentioned  basin  are  the  Reale  Scuderie, 
or  Royal  Mews  (PI.  B,  7,  8j,  coiUaining  a  collection  of  ancient  state-carri.iges 
(adm.  10-3;  pormesso  iu  the  'Ammiuistrazione''  of  the  Pal.  Pitti,  see  p.  464). 

At  Via  Ivomana  19,  to  the  W.  of  the  Pitti  Palace,  is  the  Museum  of 
Natural  Science  {^Museo  di  Fisica  e  Storia  Naturale;  PI.  C,  6 ;  adm., 
see  p.  464),  founded  by  Leopold  I.,  and  since  greatly  extended. 

The  public  museum  is  on  the  Second  Flook;  the  /oological  collections 
occupy  about  20,  the  botanical  3  rooms.  There  is  also  an  admirable  ana- 
tomical collection  in  12  rooms,  consisting  chiefly  of  preparations  in  wax, 
by  Clemeute  Susini  and  his  successors  the  two  CalenzuoU  and  Calamai. 

On  the  First  Flook  (r.)  is  situated  the  Tribuna  of  Galileo,  inaugur- 
ated in  1841,  on  the  occasion  of  the  assembly  at  Florence  of  the  principal 
scholars  of  Italy,  constructed  by  Giuseppe  ifartelli^  and  adorned  with 
paintings  by  Giuseppe  Bezzuoli,  Ljiigi  SabateUi,  etc.,  illustrating  the  history 
of  Galileo,  Volta,  and  other  men  of  science;  also  a  statue  of  Galileo  by 
A.  Costoii,  numerous  busts  of  celebrated  men,  and  mosaics  in  the  pavement, 
designed  by  SabateUi,  and  executed  by  Oiov.  Ball.  Silvesiri.  Along  the 
walls  are  six  cabinets  containing  Galileo's  telescope  and  other  instru- 
ments of  historic  interest. 

Opposite  stands  the  ancient  church  of  San  Felice  [^Pl.  C,  (3J, 
with  a  fine  porch,  rebuilt  iu  1457  by  Michelozzo  (?):  2nd  altar  to  the 
right,  Oiov,  della  Robhiti  {'i\  Piet^,  a  coloured  relief  in  terracotta; 
7th  altar  to  the  left,  Oiov.  da  San  Giovanni,  St.  Maximus  refreshing 
St.  Felix  with  a  bunch  of  grapes;  above,  opposite  the  high-altar, 
Giotto,  Crucifixion. 

No.  9,  Piaz/a  Sau  Felice,  is  the  Casa  Guidi,  in  which  Robert  and 
Elizabeth  Uarrelt  Browning  lived  from  1848  till  the  death  of  the  latter 
iu  1861  (tablet).     See  her  poem,  'Casa  Guidi  Windows'. 


Immediately  adjoining  the  Fonte  alle  Orazie  (PI.  E,  F,  6,  7; 
p.  471)  is  the  Piazza  de'  Mozzi,  in  which  (No.  6)  rises  the  Palazzo 
Torrigiani  (PI.  E,  7),  erected  in  the  16th  cent,  by  Baccio  d'Agnolo 
and  others,  but  disfigured  by  alterations. 

35* 


548   Route  64.  FLORENCE,     h.  Left  Bank  of  the  Arm. 

In  the  neighbouring  Via  ue'  Baedi  (PI.  D,  E,  6, 7)  rises  the  small 
church  of  Santa  Lucia  uei  Magnoli  (PI.  E,  7),  containing  a  relief 
by  the  Delia  Robbia  above  the  door,  and  an  Annunciation  by  Jac. 
del  Sellaio  { 1st  altar  on  the  left).  —  The  Palazzo  Canigiani,  No.  12n, 
adjoining  the  church,  dates  from  the  15th  cent,  and  has  a  fine 
court.  —  Farther  on,  No.  26,  is  the  Palazzo  Capponi,  originally 
Gothic,  built  for  Niccolo  da  Uzzano  (p.  468)  by  Bicci  di  Lorenzo  (?). 

A  little  to  the  .''.W.,  at  No.  13  Via  della  Costa  San  Giiirgio,  is  the 
House  of  Galileo  (PI.  E,  7).  The  atreet  ends  on  the  S.W.  at  the  Porta  San 
Giorgio  (PI.  D,  7),  which  is  adorned  with  fre.icoei  of  the  lith  century.  — 
Above  the  lioholi  Garden  (p.  546)  rises  the  Forlezza  di  Belvedere  (PI.  D,  7; 
now  a  barrack),  constructed  in  15£0  by  Buontalenii  to  protect  the  Pitti 
Palace.  —  From  the  Porta  S.  Giorgio  the  Via  San  Leonardo  leads  to  the 
S.  to  the  Viale  del  Colli  (see  below)  and  the  Villa  Poggio  Imperiale  (p.  .550). 
To  the  left,  just  out  tide  the  gate,  is  the  little  church  of  San  Leonardo  in 
Arcetri  (i.e.  arce  veteri;  PI.  D,  8-,  generally  closed;  bell  on  the  right),  the 
palpit.  of  which  is  embellished  with  curious  reliefs  of  ab'ut  1200  from  the 
demolished  church  of  San  Piero  Scheraggio  (beside  the  Pal.  Vecchio). 

The  LuNGARNO  Sebkistoei,  between  the  Ponte  alle  Grazie  and 
Porta  San  Niccolo,  contains  the  monument  of  Prince  Demidojf 
(PL  F,  7),  a  wealthy  Russian  to  whose  philanthropy  Florence  was 
much  indebted,  by  Bartolini  (1870). 

Farther  on  is  the  church  of  San  Niccolo  (PI.  F,  7),  founded  about 
the  year  1000.  The  sacristy  contains  a  Madonna  della  Cintola  by 
Al.  Baldovinetti,  1450  (in  the  lunette).  In  1530,  after  the  capitula- 
tion of  the  town  to  the  Medici  (p.  469),  Michael  Angelo  is  said  to 
have  lain  concealed  for  a  time  in  the  tower  of  this  church.  —  From 
the  Porta  San  Miniato  (PI.  F,  8),  behind  San  Niccolo,  a  path  with  old 
'Stations  of  the  Cross',  ascends  beneath  old  cypresses  to  the  Monte 
alle  Crod(-p.  549). 

To  the  E.  is  the  Piazza  delle  Molina  (PI.  G,  8),  with  the  well- 
preserved  Porta  San  Niccolh  (1327),  beyond  which  a  path  ascends 
through  pleasure-grounds  to  the  Piazzale  Michelangelo  (p.  549). 

65.  Environs  of  Florence. 

The  heights  surrounding  Florence  afford  many  ch  rming  views  of  the 
city  and  neighbourhood,  and  some  of  the  edifices  erected  on  them  also 
deserve  notice.  The  afternoon  is  the  most  favourable  time  for  excursions, 
as  the  city  and  environs  are  often  veiled  in  haze  in  the  forenoon.  Only 
the  most  important  excursions  are  descrilried  below ;  those  who  spend  some 
time  in  Florence  may  consult  'I  Dintorni  di  Firenze',  by  Guido  Carrocci 
(Floren::e;  1831).  — When  time  is  limited  the  excursions  a  and  b  maybe 
combined  in  a  single  circular  tour  as  follows  (ljy  carriage,  including  stay, 
2-3  hrs.,  on  foot  3-4  hrs.).  Drive  from  the  Porta  Romana  (PI.  A,  7)  via 
Poggio  Imperiale  to  the  Torre  al  Gallo  (p.  550),  thence  descend  the  Viale 
dei  Colli  to  the  Piazzale  Michelangelo  (p.  049j  and  San  Miniato  (p.  549), 
and,  finally,  return  to  the  Porta  Romana  by  the  Viale  dei  Colli.  The  most 
interesting  stage,  from  the  Porta  Romana  to  the  Piazza  Michelangelo,  may 
be  accomplished  on  foot  in  '^li  hr.  —  Carriage,  see  p.  4G0. 

(a.)  One  of  the  finest  promenades  in  Italy  is  the  hilly  road  con- 
structed since  1868  from  pljfns  by  the  engineer  Gius.  Poggi{A.  1901), 
and   called  the  **ViaIe  dei  Colli.    It  begins  at  the  Porta  Romana 


I'Orrittn  .     'K^    /fStaatOuilfj 


g    EVjOrifj^ 


V  Qturiro  ^ 


Environs  of  Florejice.     VIALE  DEI  COLLI.        65.  Route.    549 

(PL  A,  7;  omuibiis,  see  p.  461),  ascends  the  heights  in  windings 
nnder  the  name  of  Viale  Machiavelli  (PL  A,  B,  7,  8),  and,  heyond 
the  large  circular  Piazzale  Oalileo  (385  ft. ;  comp.  PI.  C,  8),  is 
continued  as  the  Vinle  Onlileo  (side-path  to  the  Torre  al  Gallo,  see 
p.  551)  along  the  slopes  to  San  Miniate  and  the  Piazzale  Michelangelo 
(see  below).  Lastly,  under  the  name  of  Viale  Michelangelo  (PI.  G, 
H,  8),  it  descends  in  a  long  curve  to  the  river,  where  it  terminates 
at  the  Ponte  in  Ferro,  near  the  Barriera  San  Niccolo  (PL  H,  8). 
This  road,  which  is  60  ft.  wide  and  nearly  8^/4  M.  in  length,  is 
bordered  with  charming  pleasure-grounds,  containing  bays,  elms, 
sycamores,  and  hedges  of  roses,  over  which  delightful  views  are 
obtained.  —  Part  of  the  Viale  dei  Colli  is  traversed  by  the  electric 
tramway  No.  8  (p.  460).  The  Piazzale  Michelangelo  and  SanMiniato 
are,  however,  more  speedily  reached  from  the  Porta  S.  Niccolo 
(p.  548),  which  is  passed  by  the  electric  tramway  No.  7  (p.  460). 

Near  San  Miniato  the  road  passes  the  large  *Piazzale  Michel- 
angelo (340  ft. ;  PL  F,  G,  8),  forming  a  kind  of  projecting  terrace 
5  min.  from  the  Porta  S.  ?iiiccol6  (p.  548).  In  the  Piazzale  (cafe'- 
restaurant)  rises  a  bronze  copy  of  Michael  Angelo's  David  (p.  521), 
the  pedestal  of  which  is  surrounded  by  the  four  periods  of  the  day 
(p.  528).  Charming  *ViEW :  to  the  N.E.,  on  the  hill,  liesFiesole; 
then  the  city  with  S.  Croce,  the  Cathedral,  S.  Lorenzo,  the  Pal.Vec- 
chio,  S.  Maria  Novella,  and  the  Lungarno ;  to  the  left  are  the  villa- 
covered  heights,  the  Fortezza  del  Belvedere,  and  the  Monte  Oliveto. 
Sax  JIixiato,  with  its  conspicuous  light-coloured  marble  facade, 
on  the  hill  to  the  S.E.  of  Florence,  may  be  reached  in  a  few  minutes 
by  the  road  diverging  to  the  right  from  the  Viale  Galileo  (see  above), 
just  before  the  Piazzale  Michelangelo ,  or  by  the  path  with  the 
'Stations  of  the  Cross  (p.  548).  The  footpath  passes  the  secularized 
Franciscan  monastery  of  San  Salvatore  or  San  Francesco  al  Monte 
(PI.  F,  G,  8),  with  a  church  erected  by  Cronaca  in  1475-1504,  the 
simple  and  chaste  proportions  of  which  were  deservedly  praised  by 
Michael  Angelo,  who  called  it  'la  bella  villanella'.  On  the  high- 
altar  is  a  Crucifixion  with  SS.  Mary,  John,  and  Francis,  and  above 
the  left  side-portal,  a  PietJi  in  the  style  of  Giov.  della  Robbia,  in 
painted  terracotta.  —  "We  now  ascend  towards  the  gateway  of  the 
old  fortifications,  constructed  by  Michael  Angelo  in  1529  as  engineer 
to  the  republic,  and  defended  by  him  during  an  eleven  months' 
siege  of  the  city  by  the  Imperial  troops.  Duke  Cosimo  I.  converted 
the  hill  into  a  regular  fort  in  1552.  Visitors  ring  at  the  gate  and 
bestow  a  gratuity  of  15-20  c.  on  leaving.  The  church  and  the  whole 
hill,  the  so-called  Monte  alle  Croci,  have  been  used  since  1839  as 
a  Burial  Ground  (tine  views,  especially  from  the  S.  wall  of  the 
cemetery). 

The  church  of  *San  Miniato  al  Monte  is  one  of  the  finest  ex- 
amples of  the  Tuscan -Romanesque  style  which  flourished  in  Pisa 
and  Florence,   and  probably  dates  mainly  from  the  11th  century. 


550   Route  65.  SAN  MINIATO.  Environs 

It  is  a  structure  of  noble  proportions,  witli  nave  and  aisles,  withont 
a  transept,  and  is  in  many  respects  a  truly  classical  edifice.  The 
elegantly-incrusted  facade  dates  from  the  11th,  the  mosaics  (re- 
peatedly restored)  with  which  it  is  adorned  from  the  beginning  of 
the  13th  century.  The  tower  was  rebuilt  by  TJacc/o  dMpnoZo  in  1519. 

The  Interior  (closed  on  Sun.  afternoon)  contains  12  columns  and  3 
triple  piers  of  greyish  green  marble,  and  its  open  roof  (1357)  is  tastefully 
re-decorated  in  the  orijiinal  style.  The  beautiful  niello  pavement  (exe- 
cuted in  1207)  also  deserves  inspection.  —  To  the  left  of  the  entrance  is 
the  monument  of  Giuseppe  Giusti,  the  satirist  (d.  1850). 

Aisles.  On  the  wall  on  the  right,  Enthroned  Madonna  and  six  saints 
by  Paolo  di  Stefnno  (1426);  on  the  left,  a  Madonna  with  saints  and  a 
Crucifixion,  of  the  beginning  of  the  15th  century.  In  the  Left  Aisle  is 
the  Chapel  of  San  Giacorao,  constructed  in  1461-67  by  Antonio  Rossellino  and 
containing  his  masterpiece,  the  "Monviment  of  Cardinal  Jacopo  of  Portugal 
(d.  1439),  above  which  ia  a  Madonna  and  Child  in  a  medallion  held  by 
two  angels.  The  frescoes  are  by  Alessio  Baldomnetti  and  Ant.  Pollaiuolo ; 
on  the  ceiling,  four  Virtues  by  Luca  delta  Robbia.  —  In  the  JJavk,  be- 
tween the  flights  of  steps  (16)  ascending  to  the  choir,  is  a  chapel  con- 
structed in  1448  hy  Mic/ielozzo  for  Piero  de'  Medici;  on  the  frieze  appears 
the  device  of  the  Medici,  consisting  of  three  feathers  in  a  diamond-ring 
with  the  legend  'Semper'.  The  spacious  'Crypt,  to  which  a  flight  of 
seven  steps  descends,  does  not  rest  on  the  four  columns  which  are  pro- 
longed into  the  choir  above,  but  on  28  smaller  columns  of  graceful  form, 
some  of  them  ancient.  Beneath  the  altar  here  is  the  tomb  of  San  Miniato 
(d.  254).  —  The  front-wall  of  she  crypt,  the  screen  of  the  Choiu,  the  apse, 
the  whole  wall  of  the  nave,  and  the  pulpit  present  beautiful  specimens  of 
incmsted  marble-work  (11th  cent.).  —  The  upper  part  of  the  Apse  is 
adorned  with  a  mosaic  of  Christ,  veith  the  Madonna  and  San  Miniato,  exe- 
cuted in  1297  (?),  restored  in  18G0.  The  five  windows  under  the  arches 
are  closed  with  translucent  slabs  of  marble.  Over  an  altar  on  the  right  is 
an  old  portrait  of  San  Giovanni  Gualberto  (p.  659).  —  On  the  S.  side  of 
the  choir  is  the  Sacristt  (closed),  erected  in  1387  in  the  Gothic  style, 
adorned  with  sixteen  (freely  restored)  frescoes  from  the  life  of  St.  Bene- 
dict (his  youth,  ordination  at  Subiaco,  miracles)  by  Sphiello  Aretino  (d. 
1410).     Below  them,  admirable  inlaid  work  in  wood  (1472). 

(b.)  PoGGio  Impehiale  and  Torre  al  Gali.o.  Outside  the 
Porta  Romana  (PI.  A,  7;  omn.,  p.  461;  steam-tramway  to  the  Cer- 
tosa,  p.  460),  to  the  right  of  the  Viale  dei  Colli  (p.  548),  is  a  fine 
avenue  of  lofty  cypresses  and  evergreen  oaks,  interspersed  with  four 
mutilated  statues  from  the  old  facade  of  the  cathedral  (p.  479), 
leading  past  the  tramway-stations  of  Poggio  Imperiale  and  QeUo- 
mino  (p.  551).  In  '20  min.  it  reaches  the  Villa  Poggio  Imperiale 
(390  ft.},  thus  named  and  almost  entirely  fitted  up  by  Magdalena  of 
Austria,  wife  of  Cosimo  II.,  in  1622.  The  handsome  edifice  has 
been  occupied  since  1864  by  the  Istituto  delta  Santii-stma  Annun- 
ziata,  a  girls'  school,  and  is  not  accessible. 

From  Poggio  we  proceed  to  the  left  to  the  Via  San  Leonardo 
(p. 548),  and  then,  at  the  fork,  follow  the  Via  del  Plan  di  Giullari 
to  the  right,  passing  the  Reale  Osservatorio  Astronomir.o,  and  reach 
(1/4  hr.)  the  small  Piazza  di  Voltasaiiminiato,  in  Arcetri,  at  the  top 
of  the  ridge,  where  the  road  again  divides.  We  ascend  slightly  in 
a  straight  direction  by  a  footpath  to  the  (2  min.)  old  Torre  al  Gallo 
(625  ft. ;  so  called  after  a  family  named  Galli),  which  was  restored  in 


of  Florence.      CERTOSA  DI  VAL  D'EMA.        05.  Route,   bh^ 

1904-0  in  the  style  of  the  14th  cent,  hy  Signer  Barrlini  (tickets  of 
admission  at  the  Palazzo  Bardiiii,  Piazza  del  Mozzi  1 ;  p.  547).  The 
platform  at  the  top  of  the  tower,  from  which  Galileo  (p.  436)  is  said 
to  have  made  several  important  astronomical  observations,  affords 
a  splendid  *Pai!orama  of  Florence  and  the  valley  of  the  Amo,  ex- 
tending on  the  E.  to  the  mountains  of  Pratomagno  fhest  by  evening 
light).  —  From  the  small  piazza  mentioned  at  p.  550  the  Via  della 
Torre  al  Gallo  and  Tia  di  Giramontino  (views)  descend  in  V4hr.  to 
the  Viale  dei  Colli  (station  of  the  electric  tramway,  p.  460),  whence 
we  may  proceed  to  the  right  to  (10  min.)  the  Piazzale  Michelangelo 
and  San  Aliniato  (comp.  Map). 

The  Via  del  Pian  de'  Giullari,  mentioned  at  p.  550,  running  to  the  S.  from 
the  Piazza  di  Voltasanminiato  leads  to  (7  min.)  the  Villa  of  Cralileo,  marked 
by  a  bust  and  inscription,  where  the  great  astronomer  passed  the  last 
years  of  his  life  (1631-42),  snrronnded  by  a  few  faithful  friends  and  lat- 
terly deprived  of  sight,  and  where  he  was  visited  by  his  illustrious  con- 
temporary Milton.  —  The  road  then  ascends  in  windings  via  the  Pian  do' 
Ginllari  (5T5  ft.)  to  the  church  of  Santa  Mavgherita  a  Montici  (665  ft.)  and 
to  the  Villa  Morrocchi,  where  France.'sco  Guicciai-dini  is  said  to  have  finished 
his  history  of  Italy.  Here  too,  on  12th  Aug.,  1530,  the  Florentines,  who 
had  been  betrayed  by  their  general  Malatesta  Baglione,  signed  the  articles 
by  which  the  city  was  surrendered  to  the  Imperial  troops  and  thus  became 
subject  to  the  rule  of  the  Medici.  From  that  event  the  house  derives  its 
name   Villa  delle  Bugle  ('villa  of  lies'). 

(c.)  La  Ceetosa  lies  on  the  monotonous  highroad  to  Siena,  3  M. 
from  the  Porta  Romana  (PI.  A,  7;  steam-tramway  thence,  see  No.  1, 
p.  460;  also  omnibus  every  1/2  hr.,  25  c. ;  carr.  6  fr.,  via  Poggio 
Imperiale  a  little  more).  The  steam-tramway  ascends  from  the  Porta 
Romana  via  Poggio  Imperiale  (p.  550)  to  Gelsomino,  where  it 
unites  vrith  the  electric  line  from  the  Piazza  del  Duomo  (No.  8,  p.  460). 
At  Due  Strade  it  reaches  the  highroad  to  the  Certosa.  —  Farther  on, 
to  the  right,  is  the  Protestant  Cemetery  of  Florence  (also  used  by 
members  of  the  Greek  church),  beyond  which  are  the  village  of 
Galluzeo  (several  unpretending  trattorie,  with  gardens)  and,  a  little 
farther  on,  the  brook  Ema.  On  the  hill  of  Montacuto,  which  is 
clothed  with  cypresses  and  olive-trees,  at  the  confluence  of  the 
Ema  with  the  Greve  and  5  min.  above  the  road,  rises  the  imposing 
Certosa  di  Val  d'Ema  (375  ft.).  The  monastery  was  founded  in  1341 
by  Niccolh  Acciaioli,  a  Florentine  who  had  settled  at  Naples  and 
there  amassed  a  large  fortune  by  trading.  A  monk  (1-2  pers.  50  c.) 
shows  the  churches  and  the  monastery  with  its  cloisters. 

From  the  anterior  court  we  first  enter  the  Side-Chuhch,  in  the  form 
of  a  Greek  cross,  the  earliest  building,  said  to  have  been  erected  by  Or- 
cagnn,  with  several  small  paintings  of  the  school  of  Oiotto,  including  a 
good  Trinity  (r.) ,  and  also  an  altar-piece  by  Cigoli  (St.  Francis  receiving 
ttie  stigmata).  —  A  staircase  descends  hence  to  the  Lowkb  Chcbch,  with 
the  tombs  of  the  Acciaioli.  In  the  chapel  immediately  in  front  of  us  are 
the  mnral  monument  of  Niccolo  Acciaioli  (d.  1366),  founder  of  the  church, 
by  Oreagna  (?),  and  three  Gothic  monumental  slabs,  the  best  of  which  is 
that  of  the  youthful  Lor.  Acciaioli  (d.  1353).  The  side-chapel  to  the  left 
of  the  entrance  contains  the  Renaissance  monument  (restored  in  1550)  of 
Cardinal  Angelo  Acciaioli  (d.  1409).  —  We  then  return  and  enter  (to  the 
left)  the  choir  of  the  M.\in  Chukch,  which  has  a  magnificent  pavement  and 


552    Route  6!).  CASCINE.  Environs 

fine  carved  stalls  of  1590.  Over  the  altar  is  tLe  Death  of  St.  Bruno,  a  fresco 
by  Bern.  PocceUi.  —  To  the  left  are  the  small  Cloisteks,  with  stained 
glass  in  the  style  of  Giovanni  da  Udine.  —  To  the  right  in  the  Chapter 
Hodse:  Mariotto  Albertinelli,  Crucifixion  (fresco  of  1505);  monument  of 
the  Carthusian  Leonardo  Buonafede  by  Franc,  da  Sangallo  (1545).  —  We 
next  enter  the  Monastekt  Gakden,  which  also  serves  as  a  burial-ground, 
and  is  surrounded  by  handsome  cloisters.  At  the  sides  are  18  mostly  empty 
cells,  which  enclose  the  building  like  pinnacles.  The  projecting  Terrace 
on  the  N.  side  commands  a  picturesque  view  of  the  hills  of  Florence  and 
Fiesole.  —  We  visit  the  EEFECTORr,  which  contains  a  tasteful  lectern  of 
the  15th  cent.,  then,  beyond  the  small  Cloisters  in  the  style  of  Brunel- 
leschi,  reach  the  West  Terrace,  which  overlooks  the  valley  of  the  Greve. 

(d.)  Monte  Oliveto  and  Bellosguardo.  About  1/3  M.  beyond 
the  Porta  Sail  Frediaiio  (PI.  B,  4 ;  omnibus,  p.  461)  the  'Via  di 
Monte  Oliveto'  diverges  to  the  left  from  the  Empoli  and  Pisa  road, 
and  in  1/2  ^-  more  it  reaches  the  entrance  to  the  garden  of  the  Badia 
di  San  Bartolomeo  di  Monte  Oliveto  (270  ft.)  founded  in  1334  (key 
next  door,  No.  10;  fee  20-30  c).  A  slight  eminence  here,  planted 
with  cypresses,  commands  an  admirable  view,  now  somewhat  inter- 
rupted by  trees.  —  The  monastery -buildings  are  now  used  as  a 
military  hospital.  The  church,  restored  in  the  style  of  Michelozzo 
in  1472,  possesses  frescoes  by  Poccetti.  In  the  priest's  house  are  the 
remains  of  a  fresco  of  the  Last  Supper  by  Sodoma. 

From  the  Monte  Oliveto  the  Via  di  Monte  Oliveto  leads  to  the 
S. ,  crossing  a  small  square  and  passing  several  houses,  to  (i/o  M.) 
the  Piazza  di  Bellosguardo.  Thence  the  short  Via  Roti-Michelozzi 
leads  to  the  left  to  the  Villa  Bellosguardo,  near  the  entrance  of 
which  we  obtain  one  of  the  finest  *Views  of  Florence.  Adjacent  is 
the  Villa  dell''  Ombrellino  (formerly  Segni),  occupied  by  Galileo  in 
1617-31,  and  now  marked  by  his  bust.  —  We  return  to  the  Porta 
San  Frediano  from  the  above-mentioned  square  by  the  Via  di  Bello- 
sguardo (to  the  E.),  the  Via  di  San  Francesco  di  Paola  (Pi.  A,  5), 
and  the  Viale  Petrarca  (to  the  left). 

(e.)  The  Cascine,  or  park  of  Florence,  lies  to  the  "W.,  beginning 
at  the  Piazza  degli  Zuavi  (PI.  A,  B,  1,  2),  and  is  about  2  M.  in 
length,  but  of  moderate  breadth,  being  bounded  by  the  Arno  and 
the  Mugnone  (p.  554).  It  affords  delightful  and  refreshing  walks 
to  the  traveller  fatigued  with  sight-seeing;  in  the  more  distant 
parts  it  is  covered  with  woods.  The  name  is  derived  from  a  farm  to 
which  it  once  belonged  (cascina  =:  dairy).  In  the  proper  season  it 
is  a  fashionable  rendezvous  in  the  late  afternoon,  particularly  for 
driving.  —  Outside  the  town,  immediately  to  the  left,  is  a  small 
Cafe  Restaurant.  —  About  the  middle  of  the  Cascine  is  a  large  open 
space,  the  Plazzale  del  Re  (where  a  military  band  plays  on  Sun.  and 
festivals  in  summer),  with  the  Casino  delle  Cascine,  a  frequented 
cafe-restaurant.  The  park  terminates  about  1  M.  farther  on  at  the 
monument  of  the  Rajah  of  Holapore  (d.  1870),  whose  body  was  burnt 
at  this  spot.  Fine  view  of  the  W.  environs  of  Florence,  with  its 
thick  sprinkling  of  villas.  —  Electric  Tramway,  see  No.  2,  p.  460; 
also  Omnibus  to  the  Porta  al  Prato  (PI.  B,  C,  4),  see  p.  461. 


of  Florence.  VILLA  DI  PETRAIA.  6b.  Route.    553 

On  the  same  road  lies  Poggio  a  Caiano  (steam-tramway  from  Piazza 
della  Stazione,  see  p.  460;  a  pleasant  drive  of  172  hr. ;  permessi  for  the 
villa  at  the  'Amministrazione''  of  the  Palazzo  Pitti,  p.  46i).  The  Trattoria 
Tramway  affords  good  country-fare.  At  the  end  of  the  village  (130  ft.) 
stands  the  Villa,  built  about  1480  for  Lorenzo  il  Magnifico  by  GiuUano 
da  Sangallo  in  a  simple  rustic  style,  and  at>ll  entirely  without  modern 
additions.  It  is  surrounded  by  a  fine  old  park  and  commands  a  beautiful 
view  of  the  Tuscan  mountains.  It  is  now  a  royal  possession.  The  chief 
room  of  the  2nd  story  is  adorned  with  frescoes  hy  Andrea  del  Sarto  (1521; 
Csesar  receiving  the  tribute  of  Egypt),  Franciahigio  (Triumph  of  Cicero), 
" Pontormo.,  Allegory  of  the  Four  Seasons,  and  Aless.  Allori  (Flamininus  in 
Greece,  and  Scipio  in  the  house  of  Syphax,  1580) ;  the  subjects  typify  events 
in  the  history  of  the  Jledici  as  narrated  by  Paolo  Giovio.  The  loggia  has 
a  fine  stncco-ceiling.  —  From  Poggio  a  Caiano  to  Empoli,  see  p.  441. 

The  electric  railway  to  Sesto  (No.  3;  p.  460)  proceeds  first  to  Ponte 
a  Rifredi  (railway-station,  see  p.  457),  with  the  ancient  church  of  Santo 
Sle/ano  in  Pane.  To  the  N.E.,  about  2  M.  from  Rifredi,  at  the  foot  of 
the  hills,  lies  the  Villa  Medicea  in  Careggi,  the  property  of  the  grand- 
dukes  down  to  1780  (adm.  only  when  the  proprietor,  Prof.  Segre,  is  in  re- 
sidence; fee  V2  ^i')-  '^^^  villa  was  erected  by  Michelozzo {1)  for  the  first 
Cosimo,  who  terminated  his  brilliant  career  in  1464  at  this  house,  which 
still  practically  retains  its  original  form.  This  was  also  once  a  favourite 
seat  of  the  Platonic  Academy  (p.  470),  which  met  in  the  noble  loggia. 
Lorenzo  il  Magnifico  also  died  at  Careggi  (1492),  after  Savonarola  had  re- 
fused him  absolution  because  he  would  not  restore  her  liberty  to  Florence. 
Fine  view,  especially  from  the  projecting  passage  below  the  roof.  Frescoes 
by  Ponlormo  and  Bromino  and  a  number  of  portrait*;  recall  the  fanaous 
past  of  the  villa;  in  the  garden-loggia  are  a  fine  terracotta  relief  of  the 
Resurrection,  by  A.   Verrocchio  (ca.  1460),  and  a  fresco  by  G.  F.  Watts. 

About  halfway  between  the  Villa  Medicea  and  Castello  (see  below), 
is  the  Reale  Iitituto  della  Quiele,  a  girls'  school,  with  admirable  sculptures 
by  the  DcllaRubbiatincludins  a  terracotta  replica  of  Verrocchio's  Doubting 
Thomas),  and  paintings  by  Botticelli  (?)  and  Ghirlandaio.  —  A  few  yards 
farther  on  is  the  Villa  Quarto,  with  beautiful  gardens,  erected  for  Duke 
Cosimo  I.  hy  Tribolo,  now  in  the  possession  of  Countess  Stroganofl". 

To  the  N.W  of  Rifredi,  3/^  M.  to  the  N.E.  of  the  railway-station  of 
Castello  and  1/2  M.  from  the  village  of  Castello  (stopped  at  by  the  Sesto 
tramway  if  previous  notice  be  given  to  the  condnctor),  is  the  Villa  Reale 
di  Petraia ,  owned  by  the  Brunelleschi  in  the  14th  cent,  but  remodelled 
by  Buontalenti  in  the  Renaissance  style  in  1575  for  the  Card.  Ferdinando 
de'  Medici.  It  is  now  fitted  up  as  a  royal  residence  (permesso  at  the  Pal. 
Pitti),  and  is  provided  with  a  curious  modern  adaptation  of  a  Roman 
'atrium'.  The  interior  is  adorned  with  frescoes  by  Volterrano  (1636)  and 
contains  an  unimportant  altar-piece  by  Andrea  del  Sarto.  The  delightful 
gardens  contain  a  fine  oak,  400  years  old ,  with  a  platform  among  its 
branches  which  used  to  be  a  favourite  resort  of  Victor  Emmanuel  II.  — 
Immediately  to  the  W.  (4  min.  from  tlie  tramway- station  in  Castello)  lies 
the  Villa  Reals  di  Castello,  with  an  uninteresting  chateau  and  a  beautiful 
park  (ring  at  No.  3,  to  tlie  left  of  the  chateau;  permesso  obtained  at  the 
same  time  as  that  for  the  Villa  Petraia,  whence  the  visitor  is  conducted 
to  the  Villa  Castello:  fee  1  fr.).  Each  villa  possesses  a  fine  fountain  by 
Tribolo,  with  statues  by  Oiov.  da  Bologna. 

In  Loccia,  about  H/i  M.  to  the  K.E.  of  the  rail.  stat.  of  Sesto  (p.  457), 
is  the  great  Manifattura  Ginori,  founded  by  the  Marckese  Carlo  Oinori  in 
1735  for  the  making  of  majolica  (J!eis?eu  1710,  Vienna  1721),  Sevres  1738), 
and  now  belon,iing  to  the  Societd  Cei-amica  liichard-Oinori.  Since  the  closing 
of  the  Naples  pottery  in  1806  this  factory  has  produced  porcelain  in 
the  Capodimonte  style,  and  in  1847  it  successfully  revived  the  ancient 
majolica  manufacture  in  the  style  of  Faenza,  Gubbio,  and  Urbino.  It 
also  produces  excellent  copies  of  Della  Kobbia  work.  The  show-rooms 
and  collections  of  the  firm  are  worth  feeing  (open  in  winter  9.30-12  and 
2.30-4.30,  in  summer  8-11  and  2.30-5.30);  permessi  in  the  depot  of  the  factory, 


554   Route  r,r,.  FIESOLE.  Environs 

in  Florence  (p.  462).  The  work-rooms  are  not  shown.  —  By  taking  the 
tramway  to  Sesto,  we  pass  the  villa  of  Marehese  Corsi,  the  celebrated 
exporter  of  plants,  which  is  interesting  to  botanists  and  horticulturalists 
(permessi  at  Via  Ghibellina  67). 

Sesto  is  the  best  starting-point  for  an  ascent  of  Monte  Morello  (3065  ft. ; 
there  and  back  6-7  hrs.).  We  go  via  Doecia  (p.  5o3)  to  (IJ/^  hr.)  J.e 
Molina^  whence  we  proceed  to  the  left,  via  Morello,  to  (25  min.)  Qualdo^ 
wbere  the  easier  of  the  two  paths  to  the  summit  diverges  beyond  the  church. 
Passing  (10  min.)  a  cattle-shed  (to  the  left),  we  reach  the  S.E.  peak,  La 
Casaccia  (3020  ft.),  which  is  crowned  with  a  ruined  convent  and  commands 
an  extensive  and  splendid  view.  The  highest  peak,  named  VAia,  is 
reached  in  'A  hr.  more.  In  returning  we  may  proceed  to  the  N.E.  via 
Paterno  to  the  rail.  stat.  of  Vaglia  (p.  421)  or  we  may  follow  the  ridge 
to  the  S.E.  to  the  Poggio  del  Giro  (2455  ft.)  and  go  on  to  Florence  via 
Caftiglioni,  Cercina,  and  Careggi  (p.  553). 

(f.)  FiKSOLE,  on  the  height  about  .3  M.  to  the  N.E.  of  Florence, 
may  be  reached  by  walkers  in  II/2  hr.  The  most  convenient  of  the 
various  routes  is  offered  by  the  electric  tramway  (No.  4;  p.  460; 
best  views  on  the  right).  The  steep  old  road  between  San  Domenico 
and  Fiesole  should  be  traversed  once  at  least  on  foot  for  the  sake 
of  the  beautiful  views.  (Visit  to  the  Badia,  see  p.  552.)  Those 
who  go  by  carriage  (about  8  fr. ;  comp.  p.  460)  should  stipulate  for 
the  inclusion  of  the  Badia ;  the  return  may  be  made  from  Fiesole 
via  Vincigliata  (p.  557)  and  Ponte  a  Alensola  (p.  557 ;  one-horse 
carr.  about  10-12  fr.).  —  The  tramway  leads  from  the  Piazza  del 
Duomo  through  the  Piaz/a  dell'  Annunziata  (PI.  G,  3,  4;  p.  609) 
and  the  Piazza  Savonarola  (PI.  I,  2)  to  the  Barriera  delta  Querce, 
where  the  precincts  of  the  city  are  left.  It  then  crosses  the  railway 
to  Rome  and  ascends  to  San  Gervasio,  soon  affording  a  fine  view 
of  the  hills  on  the  S.  bank  of  the  Arno.  Beyond  Le  Lune  (*H6t.- 
Pens.  Le  Lune,  pens.  6-9  fr.)  the  route  winds  up  through  a  pictur- 
esque hilly  district  to  San  Domenico  (see  belowj. 

Pedimtrians  proceed  by  the  Piazza  Cavour  (PI.  H,  I,  1),  where  a 
triumphal  arch,  erected  in  1789,  commemorates  the  entry  of  Grand-duke 
Francis  II.,  to  the  Barriera  delle  Cure  (comp.  PI.  I,  1;  omn.,  see  p.  461) 
and  ascend  the  Via  Boccaccio  to  the  N.E.,  on  the  left  bank  of  the  ifug- 
none,  an  insignificant  stream.  The  Villa  Palmieri,  the  property  of  the 
Earl  of  Crawford,  where  Queen  Victoria  re-sided  in  18S8,  "is  passed  on 
the  right.  Boccaccio  makes  this  the  residence  of  the  narrators  in  his 
'Decamerone'  daring  the  plague  in  1348.  [The  Villa  Oherardo  or  Enss,  on 
the  way  to  Settignano  (p.  5137),  is  supposed  to  have  been  the  first  meeting- 
place  of  the  story-tellers,  whence  they  afterwards  migrated  by  a  path 
'full  west'  to  the  Villa  Palmieri.]  The  road  then  ascends  rapidly  between 
garden-walls  to  San  Domenico.  —  Another  route  for  walkers  ascends  from 
the  Barriera  della  Querce  (see  above)  to  the  N.E.  by  the  Via  delle  Fdrbici, 
over  the  hill  of  Forbici,  passing  the  Serbatoio  della  Qnerce  (1.)  and  the 
Villa  Dante  (1.).  The  latter,  which  was  owned  by  the  Dante  family  about 
1300,  was  remodelled  by  the  Portinari  (p.  483)  in  the  15th  cent,  and  now 
belongs  to  Signor  Bondi.  Following  the  Via  della  Piazzola  we  reach  San 
Domenico  in  ^ji  hr.  more. 

San  Domenico  di  Fiesole  (485  ft.)  is  a  small  cluster  of  houses 
at  the  base  of  the  hill  of  Fiesole.  In  the  Dominican  monastery 
founded  here  in  1405  the  pious  Fra  Giovanni  Angelica  da  Fiesole 
lived  before  his  removal  to  San  Marco  at  Florence.    The  choir  of 


of  Florence.  FIESOLE.  65.  Route.   555 

the  churcli  coiitaiTis  a  Madonna  with  saints,  painted  hy  him  (1st 
chapel  on  the  left),  and  an  altar-piece,  the  Baptism  of  Christ,  by 
Lorenzo  di  Credi  (2nd  chapel  on  the  right).  —  Opposite  the  rhurc.h 
the  'Via  de.lla  BailTa'  diverges  to  the  left,  leading  in  about  5  min. 
to  the  Badia  di  Fiesole,  a  monastery  founded  in  1028,  occupied 
first  by  Benedictine,  but  after  1439  by  Augustine  monks.  It  was 
re-erected  by  a  follower  of  Brunelleschi  about  1456-66,  by  order 
of  Cosimo  the  Elder,  and  forms  a  remarkably  attractive  pile  of 
buildings.  The  monastery  was  frequently  the  residence  of  mem- 
bers of  the  'Platonic  Academy'  (p.  470).  Pico  della  Mirandola  here 
worked  at  his  exposition  of  Genesis.  After  the  suppression  of  the 
monastery  (1778)  the  printing-office  of  the  learned  Francesco  Inghi- 
rami  was  established  here.  Since  1876  it  has  been  occupied  by  a 
superior  school  of  the  Brothers  of  Christian  Schools. 

The  CnnKCH,  with  a  transept,  but  destitute  of  aisles,  is  covered 
with  circular  vaulting,  is  of  noble  proportions  throughout,  and  is  richly 
decorated  by  pupils  of  Sesiderio  da  Settignano.  The  part  of  the  facade 
which  is  decorated  with  black  and  white  marble  belongs  to  the  original 
Riimanesque  structure.  —  From  the  choir  we  enter  the  Cloisters  (to  the 
right),  on  the  W.  side  of  which  is  the  refectory,  containing  a  quaint  fresco 
by  Oiovanni  da  San  Oiovanni  (1629),  representing  angels  ministering  to 
Christ  in  the  wilderness;  the  pulpit  is  by  Piero  di  Cecco.  On  the  S.  side 
is  a  loggia,  adjoining  the  garden,  which  affords  a  charming  view  of  Florence 
and  the  valley  of  the  Mugnone. 

Three  routes  lead  from  San  Domenico  to  Fiesole.  1.  The  New 
Road  to  the  right,  traversed  by  the  electric  tramway,  sweeps  round 
to  the  E.,  affording  (r.)  a  superb  view  of  Florence  and  the  Arno 
Valley,  and  describing  a  sharp  curve  beyond  the  station  of  Regresso 
di  Maiano  (758  ft.),  finally  skirts  the  S.  side  of  Fiesole,  and  ends  in 
the  Piazza  del  Duomo.  Among  the  numerous  villas  it  passes  is  the 
Villa  Landor  (to  the  right,  below  the  road),  where  Walter  Savage 
Landor  lived  for  many  years.  —  2.  The  steep  Old  Road  (Via 
Vecchia  Fiesolana)  leads  past  the  Villa  Montaltuzzo  and  the  Villa 
MacCalmont  (formerly  Medicea) ,  once  a  favourite  residence  of 
Lorenzo  the  Magnificent,  and  in  20  min.  joins  the  new  road.  About 
2  min.  to  the  right  of  the  Villa  MacCalmont  is  the  oratory  of  Sant' 
Ansano.,  with  several  works  by  the  Della  Robbia,  four  paintings  by 
Jac.  del  Sellaio,  etc.  —  3.  The  Via  Giovanni  Uupre,  called  at  first 
Via  di  Fontelucente,  diverges  to  the  left  from  the  old  road  at  the 
Villa  Montaltuzzo,  skirts  the  W.  side  of  the  Franciscan  convent 
(p.  566).  with  a  pretty  view  of  the  Mugnone  valley,  and  finally 
reaches  the  Piazza  del  Duomo  from  the  N.,  beside  the  ancient  theatre. 

Fiesole.  —  Albebgo-Ristorante  Aurora,  dej.  2^/3-3^/2,  D.  3V2-4,  pens. 
7-9  fr.,  incl.  wine,  good;  Italia,  pens.  5-6  fr.,  both  in  the  Pi.izza  dell  >uomo, 
with  small  gardens  and  view.  —  Beggars  and  hawkers  at  Fiesole  are  trou- 
blesome. 

Fiesole  (970  ft),  Lat.  Faesulae,  is  an  ancient  Etruscan  town, 
the  Cyclopean  walls  of  which  are  still  partly  preserved.  The  town, 
the  seat  of  a  bishop,  but  now  of  no  importance,  contains  5000 
inhab.,  who  like  most  of  the  natives  of  this  district  are  engaged 


556    Route  05.  FIESOLE.  Environs 

in  straw-plaiting  (for  fans  about  V2  f"".,  little  baskets  1  fr.}.  Near 
the  Roman  theatre  is  a  little  exhibition  of  their  produce. 

On  ^he  height  we  enter  the  spacious  Piazza  Mino  da  Fiesole,  and 
-perceive  immediately  opposite  us  the  — 

Cathedral,  one  of  the  earliest  and  simplest  examples  of  the 
Tuscan-Romanesque  style,  begun  in  1028  by  Bishop  JacopoilBavaro, 
restored  in  1266,  and  lately  remodelled.  It  is  a  basilica  of  simple 
exterior,  with  a  transept  and  a  spacious  crypt  beneath  the  lofty  choir. 
The  columnar  distances  and  the  openings  of  the  arches  in  the  interior 
are  irregular.    The  campanile  dates  from  1213. 

On  the  entrance-wall,  over  the  door,  St.  Romulus,  a  terracotta  figure 
of  the  School  of  the  Robbia  (1621).  —  Choir.  Over  the  altar,  Madonna  and 
saints,  School  of  Oiotio.  The  chapel  to  the  right  of  the  choir  contains 
the  Monument  of  Bishop  Salatati  (d.  1466),  with  the  bust  of  the  deceased 
and  (above)  a  fine  sarcophagus  hy  Mino  da  Fiesole ;  to  the  left  is  a  bas- 
relief  by  the  same  master,  representing  the  Adoration  of  the  Child.  On 
the  sides  and  above  these,  frescoes  of  the  School  of  Botticelli  (retouched). 

Behind  the  cathedral  is  a  gateway  marked  'Ingresso  agli  Scavi', 
forming  the  entrance  to  the  ruins  of  some  ancient  buildings  excavated 
since  1873  (50  c,  admitting  to  Museum  also  ;  see  below).  The 
Roman  Theatre,  with  its  stage  facing  the  S.,  has  nineteen  tiers  of 
stone  seats,  in  a  semicircle  37  yds.  in  diameter.  Below  are  three 
other  rows  for  the  seats  of  persons  of  rank.  A  little  farther  down  are 
some  scanty  and  partly  restored  remains  of  a  Roman  Temple.  A 
small  projection,  near  the  Via  Giovanni  Dupre  (p.  555),  affords  a 
view  of  a  fragment  of  the  Ancient  Etruscan  Wall.  Above  the  theatre 
we  have  a  good  view  of  the  valley  of  the  Mugnone,  Pratolino,  and 
Mte.  Senario  (p.  657);  to  the  left  the  railway  to  Faenza. 

Opposite  the  cathedral,  on  the  W.  .side  of  the  piazza,  are  the  Episcopal 
Palace  and  the  Priests^  Seminary.  —  On  the  E.  side  of  the  piazza  is  the 
small  Palazzo  Pretoria.,  of  the  13th  cent.,  bearing  the  arms  of  the  magis- 
trates (podesta):  on  the  groundfloor  is  the  insignificant  Museo  Fiesolano, 
containing  the  yield  of  the  excavations  mentioned  above  (tickets,  see 
above).  —  Adjacent  to  it  is  the  old,  but  entirely  modernized,  church  of 
Santa  Mahia  Primerana,  of  the  10th  cent.,  containing  a  tabernacle  in 
terracotta  (Crucifixion)  of  the  school  of  Lwca  delta  Robbia  (1442) ;  to  the  right, 
reliefs  of  the  heads  of  St.  Rochus  and  the  Virgin  by  Francesco  da  Sangallo 
(1542  and  1575).    Key  at  house  No.  11;  fee  30  c. 

The  site  of  the  Roman  Capitol  of  FaesulcC  is  occupied  by  a 
Franciscan  Monastery  (1130  ft. ;  not  accessible  for  ladies),  to  which 
the  Via  San  Francesco,  ascending  abruptly  to  the  W.,  opposite  the 
cathedral,  leads  in  a  few  minutes.  It  contains  a  painting  by  Piero 
di  Cosimo  (Conception  of  the  Virgin;  1480).  —  On  the  right,  a 
little  below  the  monastery,  rises  the  venerable,  but  much  disfigured 
church  of  Sani'  Alessandro,  with  15  antique  columns  of  cipollino. 
The  plateau  in  front  of  it  commands  a  beautiful  and  extensive 
*ViBw  (finest  at  sunset)  of  the  valley  of  Florence,  bounded  on  the 
S.  by  several  ranges  of  hills,  and  on  the  W.  by  the  heights  of 
Monte  Albano.  A  fine  view  of  the  Apennines  and  the  upper  Mug- 
none  valley  is  obtained  from  the  edge  of  the  wood  behind  the 
convent. 


of  Florence.  PRATOLINO.  65.  Route.    557 

Beyond  Fiesole,  on  tlie  S.E.,  rises  Monte  Ceceri  (1453  ft.),  from  the 
quarries  of  which  comes  the  gray  pietra  Serena  so  universally  used  in 
Florence.  It  may  be  ascended  from  Fiesole  direct  by  a  rough  yath  or  via 
(12  min.)  Borgunto  (see  below;  by  the  Via  Franc.  Colzi,  to  the  right). 
Tha  splendid  view  from  the  top  includes  the  Tuscan  hills  from  the  Prato- 
magni)  chain  (p.  559)  to  the  Apuan  Alps,  with  the  hills  of  Chianti,  noted 
for  their  wine,  to  the  S.  The  descent  to  the  Regresso  di  Maiano  (p.  555) 
is  steep  and  fatiguing. 

From  the  Regresso  di  Haiano  (p.  55j)  the  Via  Benedetto  da  Maiano 
skirts  the  slope  of  Mte.  Ceceri  to  (V2  M.)  ifruV/no  (565  ft.).  Thence  we  may 
descend  to  the  S.W.,  through  tbe  pretty  Affrico  Vallei/  tn  San  Gennsio 
(p.  554),  or  to  the  S.  to  the  ('/<  ^'■'■)  road  from  Florence  to  Settignano,  a 
little  on  this  side  of  Ponle  a  Menscla  (255  ft.;  electric  tramwav,  Ko.  5, 
p.  460). 

On  a  hill-top  1  JI.  to  the  N.E.  of  Maiano  lies  the  Castello  di  Vineigliata, 
a  castle  of  the  14th  cent.,  belonging  to  Lord  Westbury,  which  has  been 
restored  since  1855  and  fitted  up  in  a  medieeval  style.  Visitors  are  admitted 
on  Sun.  and  Thurs.  between  8  and  5  (attendant  1  fr.).  The  Castello  may 
be  reached  also  from  Ponte  a  Mensola  by  the  steep  Via  Giov.  Leader  in 
'/4  hr.,  and  from  Fiesole  in  1  hr.  by  a  rough  cart-track,  passing  Borgunto, 
on  the  N.  slope  of  Mte.  Ceceri,  and  themedifeval  Castel  di  Poggio.  —  Circular 
drive  from  Florence  via  Fiesole  and  Vineigliata,  see  p.  554. 

About  4V2  M.  to  the  E.  of  Florence  is  the  high-lying  and  pleasant 
village  of  Settignano  (580  ft. ;  Catl'e  Desiderio),  the  terminus  of  the  electric 
tramway  Ko.  5  (p.  46(3).  From  the  upper  end  of  the  village  the  beautiful 
Via  Desiderio  da  Settignano  descends  to  the  left  via  the  hamlet  of  Cor- 
bignano  (415  ft.),  to  (V2  hr.)  Ponte  a  Mensola  (see  above). 

In  the  midst  of  a  wood  about  9  M.  to  the  N.  of  Florence,  and  about 
3  M.  from  the  station  of  Montortoli  (p.  421)  via  the  village  of  that  name, 
lies  Pratolino  (1512  ft. ;  Ferd.  Zocchfs  Inn).  A  little  on  this  side  of  the 
village,  to  the  right,  is  the  entrance  to  the  Villa  of  Pratolino,  formerly 
belonging  to  the  grand-dukes  and  now  to  Princess  Demidoff  (adm.  only  by 
permission  of  the  steward).  The  chateau,  built  by  15uontalenti  about  1561) 
at  the  instance  of  Francesco  de'  Medici,  for  the  reception  of  Bianca 
Cappello  (p.  536),  has  been  in  ruins  since  1832,  while  the  gardens  have 
been  modernized  and  partly  converted  into  plantations.  Almost  the  only 
relic  of  former  splendour  is  a  colossal  crouching  figure  (62  ft.  high),  re- 
presenting the  Apennines  and  ascribed  to  Oiov.  da  Bologna.  —  From  Pra- 
tolino a  beautiful  road,  with  numerous  views,  leads  to  the  N.E.  via  AJacioli 
to  (5  M.)  the  Monte  Senario  (2700  ft.),  on  the  top  of  which,  in  the  midst  of 
a  grove  of  pines,  is  a  Servite  Convent  (Annunziata),  founded  in  1233  and 
restored  in  1544.  The  great  terrace  affords  a  splendid  'Panorama  of  the 
surrounding  mountains,  with  distant  views  of  Fiesole  and  Florence,  seen 
through  the  valley  of  the  Mugnone.  An  excellent  liqueur,  'Gemma  d'Abeto', 
is  made  at  the  convent.  From  the  summit  we  may  go  on  to  the  N.W.  (at 
first  by  a  rough  footpath)  to  the  railway-station  of  Vaglia  (p.  421  ;  IV4  hr., 
in  the  opposite  direction  2  hrs.). 

(g.)  San  Salvi,  about  8/4  M.  from  the  Piazza  Beccaria  (_P1.  1,  G; 
electric  tramway  No.  6,  p.  460).  We  leave  the  tramway  in  the  Via 
Aretina  at  the  corner  of  the  Via  di  S.  Salvi,  which  brings  us  in 
3  min.  to  an  archway  on  the  right  (ring).  Of  the  Vallombrosan 
monastery  of  San  Salvi,  founded  before  1084,  where  in  1312  Emp. 
Henry  Vll.  established  his  headquarters  during  the  siege  of  Florence, 
only  the  remains  are  now  extant.  The  district  adjoining  the  Campo 
di  Marte  is  still  called  'Campo  d'Arrigo'.  The  former  refectory  (adm., 
see  p.  4G4)  contains  a  collection  of  old  paintings  belonging  to  the 
Florentine  galleries  and  a  *Fresco  by  Ajidrea  del  Sarto  (_15'2G-27), 
representing  the  Last  Supper. 


558  Route  65.  PONTASSIEVE.  E)ivirons 

(h.)  Vallombbosa..  a  visit  to  this  celebrated  monastery  is  now 
easily  accomplished  in  one  day  with  the  aid  of  the  cable-railway 
from  Saut'  Ellero  to  Saltiiio ;  but  iu  summer  several  days  may  be  very 
pleasantly  spent  at  Vallombrosa  (rooms  should  be  ordered  iu  advance 
in  July  and  August).  The  drive  from  Florence  or  Pontassieve  (see 
below)  to  Vallombrosa  is  charming. 

From  Floeencb  to  Sant'  Ellebo,  16  M.,  railway  in  ca.  1/2-!  ^^• 
(fares  3  fr.  5,  2  fr.  15,  1  fr.  40  c. ;  return-tickets  to  Saltino  10  fr. 
00,  9  fr.  25,  8  fr.  10  c).  —  From  the  central  station  the  train  per- 
forms the  circuit  of  the  city,  and  stops  at  the  suburban  station  of 
(3  M.J  Campo  di  Murte.  It  then  skirts  the  right  bank  of  the  Arno. 
Fiesole  lies  above  us,  to  the  left.  The  valley  soon  contracts.  8  M. 
Compiobbi,  in  a  fertile  district,  above  which  rise  barren  heights. 

13  M.  Pontassieve.  —  Hotels.  Alb.  del  Vapore;  Locanda  della 
Stazionk.  —  Diligences  daily,  at  2.30  p.m.,  to  Stia  anil  to  Fraiovecchio 
(fiire  3fr.).  —  Carriages  at  tlie  hotels;  one-horse  carriage  to  Vallombrosa  for 
1  pers.,  8  fr. ;  two-horse  carr.,  2  pers.  15,  each  additional  pers.  U  fr., 
luggage  5  c.  per  kilogramme  (2'/5  lbs.).  Carr.  and  pair  from  Florence  to 
Vallombrosa,  for  1-4  pers.,  40  fr. ;  one-horae  carr.  to  Stia  12,  two-horse 
24  fr. ;  to  Camaldoli  25  and  40  fr. 

Pontassieve  (325  ft.),  a  small  village  at  the  confluence  of  the  Sieoe 
and  the  Arno,  formerly  derived  some  importance  from  its  situation 
on  the  highroad  over  the  Apennines  to  Forli. 

The  road  from  Pontassieve  to  (5  hrs.)  Vallombrosa  crosses  the  Sieve 
beyond  the  village  and  ascends  the  valley  of  the  Arno.  About  1  M.  from 
F  ontassieve,  where  the  road  forks,  we  keep  to  the  left.  From  the  second 
fork  (IV2  M.  fiirther)  the  lelt  branch  leads  to  the  Consuma  Pass  and  the 
Casentino  (p.  560),  the  right  follows  the  ridge  to  (3  M.)  the  village  of  Pelago 
(Locanda  della  Pace),  the  birthplace  of  Lor.  Ghiberti,  and  (2',4M.)  Palerno, 
formerly  a  monastery-farm,  and  thence  ascends  a  picturesque  gorge  (steep 
towards  the  end)  to  the  village  of  Tosi,  2V2  31.  farther  on.  The  road 
steadily  ascends,  usually  through  woods,  to  (li/i  br.)  Vallombrosa  (p.  559). 

16  M.  Sant'  Ellero  (365  ft. ;'  Railway  Reslaurant)  is  an  insigui- 
licant  village  with  an  old  castle,  in  which  the  Ghibcllines  expelled 
from  Florence  in  1267  were  besieged  by  the  Guelphs.  —  To  Arezzo 
(p.  562;  38  M.,  in  lV4-2V:ihrs.),  stQ  Baedekers  Central  Italy. 

The  Cable  RAtLWAV  from  S.  Ellero  to  Saltino  is  5  M.  long, 
with  a  maximum  gradient  of  22 :  100.  The  ascent  takes  about  1  hr. ; 
fare  4,  return-ticket  6  fr.  —  The  train  starts  from  the  railway- 
station  at  S.  Ellero  and  ascends  through  a  grove  of  oaks,  on  the 
bank  of  the  torrent  Vicano^  to  the  crest  of  one  of  the  numerous 
spurs  which  the  Pratomagno  range  throws  out  into  the  valley  of  the 
Arno.  A  striking  view  is  disclosed;  straight  on,  Saltino  appears, 
above  a  steep  slope.  —  21/2  M.  Donnini.  We  now  traverse  a  well- 
cultivated  district  high  above  the  Vicano,  and  then  ascend  gently 
on  the  right  bank  of  the  Ciliana  to  (3  M.J  FiUberti ,  beautifully 
situated  at  the  foot  of  the  Pratomagno  chain.  The  railway  skirts 
the  slope  in  windings  (fine  views).  —  6  M.  Saltino  (3140  ft.J,  linely 
situated  on  a  barren  promontory,  commanding  a  splendid  view.  Near 
the  station  are  the  Hotel    Vallombrosa  (R.  4-6,  B.  I'/o)   dej.  3V2i 


V.i^ki 


of  Florence.  VALLOMBROSA.  05.  Route.   559 

D.  5,  pens.  12-15  fr.)  and  the  Hotel  Croce  di  Savoia;  1/2  M.  farther 
on  is  the  Orand  Hotel  Castello  di  Aaqxiahella  (pens.  12-15  fr.). 

The  carriage-road  leads  through  a  dense  grove  of  firs  to  (1 V4  M.) 
VMoinlrosa.  The  road  which  diverges  to  the  right  at  the  station 
and  passes  the  Scoylio  del  Saltino,  a  projecting  rock  with  a  fine  view 
of  the  Ariio  valley,  is  only  a  little  longer. 

The  convent  of  Vallombrosa  (3140  ft.),  situated  in  a  shaded  and 
sequestered  spot  on  the  N.W.  slope  of  the  Pratomaguo  chain,  was 
founded  in  1015  and  suppressed  in  1866.  The  present  huildings, 
dating  from  1637,  have  been  occupied  since  1870  by  the  Beale 
Istituto  Forestale ,  the  only  advanced  school  of  forestry  in  Italy. 
There  are  now  only  three  monks  here,  who  celebrate  service  in  the 
church  and  attend  to  the  meteorological  observatory.  Hotel:  Albergo 
della  Foresta  (the  former  Foresteria),  R.  from  31/2)  B.  1,  de'j.  21/2, 
D.  4,  pension  (L.  and  wine  extra)  7-12,  in  July  and  August  8-12, 
omn.  from  the  cable-railway  1/2  ^'■*  j  'i'ratloria  Medici,  plain. 

The  monastery  of  Vallombrosa  was  founded  by  San  Giovanni  Oualherto 
(.985-1073),  the  scion  of  a  wealthy  and  powerful  family  of  Florence,  who  after 
a  career  of  youthful  profligacy  resolved  to  devote  the  remainder  of  his  life 
to  the  most  austere  acts  of  penance.  His  brother  Hugo  having  fallen  by 
the  knife  of  an  assassin,  Gualberto  was  bound  by  the  customs  of  the  age 
to  follow  the  bloody  law  of  retaliation.  Descending  one  Good  Friday 
from  the  church  of  San  Miniato  near  Florence,  accompanied  by  armed  fol- 
lov/ers,  he  suddenly  encountered  the  assassin  at  a  narrow  part  of  the 
road.  The  latter  fell  at  his  feet  and  implored  mercy.  The  knight 
forgave  his  enemy,  and  led  him  to  San  Bliniato,  where  he  himself  assumed 
the  cowl.  Finding  the  discipline  there  ton  lax,  however,  he  betook  himself 
to  thi.s  lonely  spot  and  founded  Vallombrosa. 

11  Paradisino  (3336  ft.),  a  small  hermitage  situated  on  a  rock, 
'/4  hr.  to  the  left  above  the  monastery,  is  now  an  annexe  to  the  Alb. 
della  Foresta  (see  above;  rooms  not  very  comfortable).  The  plat- 
form in  front  commands  an  admirable  *Survey  of  the  monastic 
buildings,  and  of  the  broad  valley  of  the  Arno  as  far  as  Florence,  half 
of  the  cathedral-dome  of  which  is  visible  behind  a  hill.  The  horizon 
is  bounded  by  the  Alpi  Apuane  (R.  21).  —  Another  walk  may  be 
taken  on  the  road  leading  fiiom  the  hotel  towards  the  N.E.  along  the 
mountain-slopes  via  Villa  del  Lago  to  the  Consuma  Pass  (p.  660). 

The  ascent  of  the  Secchieta  (4755  ft.),  the  N.  summit  of  the  Fruto- 
marjno  Chain,  fmm  Vallombrosa  occupies  I72-2  hrs.  (guide  not  indispensable 
for  experts).  The  path  diverges  to  the  right,  a  little  before  we  reach  the 
Paradisino  (see  above)  and  ascends  to  the  S.E.  mostly  through  dense  pine 
forest  and  afterwards  over  pastures,  jiassing  the  so-called  Romitorio  della 
ilacinaia^  to  ths  crest  of  the  ridge,  which  it  reaches  at  a  narrow  depres- 
sion. Hence  we  ascend  to  the  left  to  (25  min.)  the  Tabtmacolo  di  Don 
Pitro ,  an  old  chapel  commanding  a  splendid  "View.  To  the  E.  lies  the 
green  Casentino  Valley,  bounded  on  the  N.)':.  by  the  lofty  Monte  Falterona, 
where  the  Arno  rises;  to  the  W.  the  fertile  and  richly-cultivated  valley 
of  the  Arno  stretches  as  far  as  the  dome  of  the  cathedral  of  Florence, 
bayond  which  the  blue  Mediterranean  is  sometimes  visible  in  the  extreme 
distance.  —  We  may  return  to  Vallombrosa  from  the  chapel  by  keeping 
to  the  N.W.,  via  the  Croce  Roeia;  or  we  may  descend  to  the  W.  from 
the  Romitorio  to  Saltino  rlircct  via  the  bare  ridge  of  the  Bocca  di  Lupo. 

From  the  Segnale  di  Pratomagno  (5223  ft.),  the  highest  summit  of  the 
I'ratomagno  chain  (4-5  hrs.  from  Vallombrosa,  with   guide)  a  steep   path 


560    Route  65.  CASENTINO.  Environs 

descunds  to  the  N^  through  woods  and  ravines  (I'/a  hr.),  skirting  the  brook 
Solano,  passing  Cetica  and  several  other  mountain-villages ,  and  leading 
to  the  picturesque  market-town  of  Castel  San  JViccold,  commanded  by  the 
ancient  fort  of  that  name ,  and  situated  at  the  contluence  of  the  Solano 
and  Arno,  where  the  fertile  Casentino  expands.  Carriage-roads  lead  from 
Castel  S.  Niccolo  to  Poppi  (4^4  M. ;  p.  562),  and  to  Stia  and  Pratovecehio 
(4  M. ;  see  below). 

(i.)  Camaldoli  and  La  Verna.  This  excursion  takes  -walkers 
ij^/2-i  days  from  Pontassieve  or  Vallombrosa.  1st  Day,  over  the  Con- 
suma  Pass  to  Stia  and  Pratovecehio ;  2nd  Day,  direct  or  via  the  Fai- 
terona  to  Oamaldoli;  3rd  Day,  by  Badia  a  Prataglia  to  La  Verna  ; 
4th  Day,  to  Bibbiena,  and  thence  by  train  to  Arezzo.  Those  who 
omit  the  beautiful  hill-walks  in  the  Casentino  visit  Camaldoli  from 
Poppi  or  Bibbiena,  and  La  Verna  by  carriage  from  Bibbiena. 

The  road  from  Pouta?sieve  mentioned  at  p.  558  ascends  past 
the  old  castle  of  Diacceto,  the  (4  M.)  village  of  the  same  name,  and 
the  (6V-2  M.)  hamlet  of  BorseUi  to  the  (101/2  M.)  Consuma  Pass 
(ca.  33o0  ft.),  which  may  also  be  reached  from  Vallombrosa  by  a 
bridle-path  [comp.  p.  559 ;  guide  necessary,  2  hrs.).  A  little  on 
this  side  of  the  head  of  the  pass  is  the  small  village  of  Consuma, 
■with  two  poor  osterie.  The  summit  of  the  Monte  Consuma  (3435  ft.) 
lies  to  the  right.  Farther  on  the  road  leads  up  and  down  to  (14  M.) 
the  lonely  inn  (unpretending)  of  Casaccia  and  (15  M.)  Omomorto. 
A  little  lower  down  a  view  is  disclosed  of  the  Casentino,  or  upper 
valley  of  the  Arno,  bounded  on  the  N.  and  E.  by  the  Central 
Apennines  and  on  the  W.  by  the  Pratomagno  chain,  while  it  is 
open  towards  the  S.  To  the  S.E.  appears  the  jagged  outline  of  the 
Verna,  and  a  little  farther  on,  to  the  left,  the  range  of  Falterona.  — 
At  (17  M.)  Scarpaccia  the  road  to  (19V2  M.)  Stia  and  Pratovecehio 
diverges  to  the  left  from  the  highroad  to  Bibbiena.  To  the  right, 
11/2  M.  to  the  S.W.  of  Pratovecehio,  we  see  the  ruined  castle  of 
Itomeni,  mentioned  by  Dante  (Inferno,  xxx.  73),  near  which  arose 
the  Fonle  Branda,  now  dried  up.  A  little  farther  on  the  road  again 
forks,  the  left  branch  leading  to  Stia,  the  right  to  Pratovecehio.  The 
station  of  the  railway  to  Arezzo  (p.  562)  lies  between  these  two  places. 

Stia  (1460  ft. ;  Alb.  delta  Stazione  Alpina,  R.  IY2  ft-,  plain  but 
good;  Alb.  Falterona;  carr.  and  pair  to  Camaldoli  via  Poppi,  10-r2fr.), 
with  a  picturesque  church  ('La  Pieve'),  and  Pratovecehio  (1410  ft,; 
Alb.  Spigliantini ;  All.  Bastieri)  are  good  headquarters  for  excursions 
in  the  Casentino  (guide  5  fr.  daily,  and  his  food). 

From  Pratovecehio  a  footpath  leads  to  Camaldoli  (about  9  M.) 
via  Moggiona;  another  route,  somewhat  longer,  passes  Casalino  and 
SacTO  Eremo  (p.  561).  —  The  following  is  a  line  but  somewhat 
fatiguing  round  from  Stia :  past  the  ruined  castle  of  Porciano  to  the 
N.  of  the  Source  of  the  Arno  ('Capo  d'Arno' ;  see  Dante's  'Purgatorio', 
xiv. ;  4265  ft.),  3  hrs. ;  thence  to  the  summit  of  Monte  Falterona 
(5410  ft. ;  liicovero  Dante,  of  the  Ital,  Alpine  Club),  which  com- 
mands a  wide* View,  extending  in  clear  weather  from  the  Tyrrhenian 
Sea  to  the  Adriatic;   descent  to  the  Alp  Stradella,   1  hr. ;  via  the 


of  Florence.  CAMALDOLI.  <55.  Route.   561 

Poggio  Scali  (4355  ft.)  and  the  Prato  al  Soglio  (see  telow)  to  the 
Sacro  Eremo  4  hrs.,  back  to  Camaldoli  ^/^  hr.  (in  the  reverse  direc- 
tion, from  Camaldoli  to  the  Falterona,  7  hrs.).  —  Hurried  travellers 
may  ascend  direct  to  the  E.  from  Stia,  via  (1^4  l"".)  Lonnano,  to 
(4'/2  hrs.)  the  Prato  di  Bertone,  and  descend  thence  via  Sacro  Eremo 
to  (11/4  hr.)  Camaldoli  (guide  desirable). 

The  suppressed  abbey  of  Camaldoli  (2717  ft. ;  *Grande  Alhergo, 
pens,  with  wine  12  fr. ;  Restaurant,  on  the  groundfloor,  cheaper), 
prettily  situated  in  a  narrow  wooded  valley,  was  founded  in  1012 
by  St.  Romuald  (d.  1027)  but  frequently  devastated  by  fire  and 
war.  The  environs  are  wild  and  beautiful.  A  steep  road  ascends 
to  (IV4  It.)  the  Sacro  Eremo  (3680  ft.),  a  monastery  with  hermit- 
ages, founded  in  1046  and  surrounded  by  fine  pine-woods. 

The  name  of  the  place  is  said  to  be  derived  Irom  Campus  Maldoli, 
after  a  certain  pious  Count  Maldolus,  who  presented  it  to  his  friend  St. 
Romuald.  From  this  spot  the  reputation  of  the  order  for  austere  discipline, 
sanctity,  and  erudition  extended  throughout  the  whole  of  Italy,  although 
the  number  of  their  cloisters  was  never  great.  Camaldoli,  as  well  as 
Vallombrosa,  lost  its  valuable  library  and  many  treasures  of  art  through 
the  rapacity  of  the  French  in  1809. 

The  'Views  from  the  narrow  ridge  of  the  Apennines  at  the  back  of 
Sacro  Eremo,  especially  from  the  summit  which  is  not  planted  with  trees, 
called  the  Prato  al  Soglio  (1420  ft.),  are  very  extensive  and  beautiful.  To 
the  N.E.  the  houses  of  Forli  may  be  distinguished  in  clear  weather,  still 
farther  oft'  the  site  of  Ravenna,  and  in  the  extreme  distance  the  glittering 
Adriatic;  W.  the  chain  of  the  Pratomagno,  the  lower  valley  of  the  Arno 
as  far  as  Pisa  and  Leghorn,  and  beyond  them  the  Mediterranean.  The 
spectator  here  stands  on  one  of  the  summits  of  the  'backbone  of  Italy', 
whence  innumerable  mountains  and  valleys,  as  well  as  the  two  diflferent 
seas,  are  visible. 

Walkers  from  Camaldoli  may  reach  the  highroad  from  Cesena 
to  Bibbiena  in  i^'zhx.  by  a  rough  and  stony  track,  and  then  proceed 
via  Partina  to  (6  M.)  Bibbiena  (p.  562).  If  time  allows,  however, 
the  road  from  Camaldoli  to  (7l/>  M.)  Poppi  (p.  562)  Is  preferable. 
In  the  opposite  direction  Camabioli  may  be  reached  by  carriage  from 
Poppi  in  2,  from  Bibbiena  in  21/2  hrs. 

Feom  Camaldoli  to  La  Verna  on  foot.  Pedestrians  should 
select  the  beautiful  but  fatiguing  route  (with  guide)  via  the  Sacro 
Eremo  and  the  village  of  (2  hrs.)  Badia  a  Prataglia  (2765  ft. ;  Hot. 
Mullnacci;  Pens.  Boscoverde,  English,  8  fr.),  which  lies  on  the 
above-mentioned  road  from  Bibbiena  to  Cesena.  Thence  we  proceed 
to  the  S.E.  to  (2  hrs.)  Corezzo  and  descend  along  the  stream  of 
that  name  to  (8/4  hr.)  Biforco,  at  its  confluence  with  the  Corsalone. 
We  then  ascend  along  the  Corsalone  and  through  plantations  of 
oaks  to  (2'/4  hrs.)  a  stony  upland  plain,  interspersed  with  marshes. 
Above  this  rises  the  abrupt  sandstone  mass  of  the  Verna,  to  a  height 
of  850  ft.  On  its  S.W.  slope,  one-third  of  the  way  up,  and  3700  ft. 
above  the  sea-level,  is  seen  a  wall  with  small  windows,  the  oldest 
part  of  the  monastery,  built  in  1215  by  St.  Francis  of  Assisi,  and 
substantially  rebuilt  after  a  fire  in  1472.  Strangers  receive  good 
food  and  accommodation  here,  for  which  a  fair  recompense  is  ex- 

Baedeker.  Italy  I.  13th  Edit.  36 


562   Route  65.  BIBBIENA. 

pected  (ladies  not  admitted).  The  monks  show  the  extensive  con- 
vent, the  three  churches  with  their  excellent  reliefs  in  terracotta  of 
the  school  of  the  Robbia  (Annunciation  by  Andrea  della  Robbia  in 
the  main  church),  and  the  Luoghi  Santi,  a  series  of  grottoes  once 
frequented  by  St.  Francis.  —  A  path  ascends  through  beautiful 
woods  to  the  Penna  della  Fer7ia  (4165  ft.),  also  known  simply  as 
VApennino,  'the  rugged  rock  between  the  sources  of  the  Tiber  and 
Arno',  as  it  is  called  by  Dante  (Paradiso,  xi.  106).  The  celebrated 
view  from  this  ridge,  now  somewhat  obscured  by  trees,  is  best  ob- 
tained from  the  small  chapel  on  the  N.W.  spur,  about  3/4  hr.  above 
the  monastery.  —  About  '/^  hr.  below  the  convent,  at  the  end  of 
the  Bibbiena  road  (see  below),  stands  a  modest  Osteria. 

To  the  S.,  not  far  from  the  monastery,  ia  situated  the  ruined  castle 
of  Chinsi,  occupying  the  site  of  the  ancient  Clusium  Jfovum.  where  Lodo- 
vico  Buonarroti,  father  of  Michael  Angelo,  once  held  the  office  of  Podesta. 
The  great  master  himself  was  born  on  6th  March,  1475,  at  Caprese,  in  the 
neighbouring  valley  of  the  Singerna,  but  in  1476  hia  parents  removed  to 
Selttgnano  (p.  557). 

FnoM  Stia-Pkatovecchio  to  Aeezzo,  28 M.,  railway  in  13/4-2 hrs. 
(fares  5  fr.  10,  3  fr.  60,  2  fr.  30  c),  descending  the  Arno  valley.  Beyond 
(4  M.)  Porrena-Strada,  the  first  station,  the  train  passes  the  ancient 
church  of  Campaldino,  where  in  a  sanguinary  conflict,  on  11th  June, 
1289,  Dante  distinguished  himself  by  his  bravery,  and  aided  his 
Guelph  countrymen  to  crush  the  might  of  Arezzo  and  the  Tuscan 
Ghibellines.  —  51/2  M.  Poppi  (1430  ft.;  Alb.  Vezzosi;  Pens.  Gelati\ 
on  a  hill  rising  to  the  riglit  above  the  Arno,  is  commanded  by  the 
lofty  tower  of  the  castle  of  the  Counts  Ouidi,  the  ancient  lords  of 
the  Casentino,  expelled  by  the  Florentines  in  1440.  The  castle 
was  built  in  1230  and  partly  restored  in  1896-99.  Road  to  Camal- 
doli,  see  p.  561  (carr.  7,  with  two  horses  10  fr.). 

9  M.  Bibbiena  (1395  ft.;  Alb.  Amorosi,  R.  I1/2  fr-,  well  spoken 
of),  the  birthplace  of  Bernardo  Dovizi,  afterwards  Cardinal  Bibbiena 
(1470-1520),  the  patron  of  Raphael,  is  prettily  situated  on  a  hill 
rising  from  the  Arno  (carr.  from  the  station  to  the  town  1/2  fr.).  The 
principal  church,  San  Lorenzo,  contains  fine  terracotta  reliefs  of 
the  Adoration  of  the  Holy  Child  and  the  Descent  from  the  Cross,  of 
the  school  of  the  Robbia.  —  Bibbiena  is  the  starting-point  for  those 
who  visit  La  Verna  by  carriage  (7^2  M.,  in  2  hrs.  ;  carr.  and  pair 
10-12  fr.,  bargaining  necessary). 

13  M.  Rassina  (1000  ft.),  with  a  silk-factory.  —  23  M.  Oiovi. 
The  train  now  quits  the  valley  of  the  Arno  and  traverses  the  rich 
Val  di  Chiana  to  — 

28  M.  Arezzo  (840  ft. ;  Inghilterra;  Vittoria),  a  provincial  capital 
with  16,500  inhab.  and  several  interesting  churches ;  see  Baedeker's 
Central  Italy. 


List 

of  the  most  important  Artists  mentioned  in  the  Handbook ,  with  a 
note  of  the  schools  to  which  they  belong. 

Abbreviations:  A.  =  architect,  P.  =  painter,  S.  =  sculptor,  ca.  = 
circa,  about;  Bol.  =  Bolognese,  Bresc.  =  Brescian,  Crem.  =  Cremonese, 
Flor.  =  Florentine,  Ferr.  =  Ferrarese,  Flem.  =  Flemish,  Friul.  =  Friulian, 
Gen.  =  Genoese,  Lomb.  =  Lombardic,  Blant.  =  Mantuan,  Mil.  =  Milanese, 
Mod.  =  of  Modena,  Neap.  =  Neapolitan,  Pad.  =  Paduan,  Parm.  =  Par- 
mesan, Pied.  =  Piedmontese,  Pis.  =  Pisan,  Rav.  =  of  Ravenna,  Rom.  = 
Roman,  Sien.  =  Sienese,  Span.  =  Spanish,  Umbr.  =  Umbrian,  Ven.  = 
Venetian,  Ver.  =  Veronese,  Vic.  =  Vicentine. 

The  Arabic  numerals  enclosed  within  brackets  refer  to  the  art-notices 
throughout  the  Handbook,  the  Roman  figures  to  the  Introduction. 


Abbdte,  Kiccolb  deW,  Mod.  P.,  1512-71. 

—  (25S). 

Alhei,  Macrino  d\  Pied.  P.,  ca.  1470- 

1528(7).  -  (33). 
Albani,  Franc,  Bol.  P.,  1578-1660.— 

(390). 
Alberti,  Leon  Batt.,  Flor.  A.,  1404-72. 

—  (xlii.  258.  470). 
Albertinelli,  Mariotto,  Flor.  P.,  assist- 
ant of  Fra  Bartolomeo,  1474-1515.  — 
Oviii.  471). 

Alemannus,  Joh.  (  Giovanni  Alemanno, 

Giov.  da  Murano),  Ven.  P.,  middle 

of  the  15th  cent.  —  (291). 
Alessi,     Galeazzo ,    A.,    follower    of 

Michael  Angelo,  1512-1572.  — (xlviii. 

80.  133). 
Algardi,  Al.,  Bol.  S.,  A.,  1592  1654. 
Aliense  (AtU.  Votsillacchi),  Umbr.  and 

Ven.  P.,  d.  1629. 
AUegri,  Ant.,  see  Covveggio. 
Allori,  Aless.,  Flor.  P.,  1535-1607.  — 

(471). 
— ,  Cristofano,  Flor.  P.,  1578-1621.  — 

(Ixii.  471). 
AUichiero  da  Zevio,  Ver.  and  Pad.  P., 

second   half  of  the   14th  cent.  — 

(xli.  245). 
Alunno,  see  Foligno. 
Amadeo    (Amudio),     Giov.     Antonio, 

Lomb.  S.,  A.,  1447-1522.  —  (1.  133). 
Amtrigki,  see  Caravaggio. 
Ammanali,  £art.,FioT.A.,S.,  1511-92. 

—  (xlvii). 

Angelico  da  Fiesole,  Fra  Giov.,   Flor. 

P.,  1387-1465.  —  (lii.  470.  555). 
Anguissola  (Anguisciola),  Sofonisba  d\ 

Crem.  P.,  1535-1626.  —  (207). 
Anselmi,    Michelangelo,     Lucca    and 

Parma,  P.,  1491-1554. 


Antelami,  Benedetto,  Lomb.  S.,  flourish- 
ed ca.  1178-96. 
Araldi,  Al.,  Parm.  P.,  1465-1528. 
Area,   Nice.   deW,   of  Barl,    Bol.    S., 

d.  1494.  —  (389). 
Arezzo,  Niccolb  d'  (Nice,  di  Piero  Lam- 

berti),  Flor.  S.,  d.  1420. 
Arpino ,   Cavaliere   d'   (Gitis.   Cesari), 

Kom.  P.,  ca.  1560-1640.-0x1). 
Asperiini,  Amico,  Bol.  and  Lucca  P., 

ca.  1475-1552.  —  (447). 
Avanzi,    Jacopo   degli,   Bol.    P.,  2nd 

half  of  the  I4th  century. 
Avanzo,  Jacopo  cC,  Ver.  and  Pad.  P., 

2nd  half  of  the  14th  cent.  —  (xii). 
Bacchiacca  (Fran.  Ubertini),  Flor.  P., 

ca.  1490-1557. 
Baccio  d^Agnolo.  Flor.  A.  and  S.,  1462- 

1543.  —  (xlvii). 
Badile,  Ant.,\eT.  P.,  teacher  of  Paolo 

Veronese,  1480-1560. 
Bagnacavallo  (Bart.,  Ramenghi),  Bol. 

and  Rom.  P.,  1484-1542.  —  (Ix.  390). 
Baldovinetii,  Aleasio,  Flor.  P.,  1427-99. 

-  (470). 

Balduccio,  Giov.  di.  Pis.  and  Lomb.  S., 

flourished  ca.  1321-39. 
Bambaia,  il  (Agostino  Busti),  Mil.  S., 

ca.  1480-1548.  —  UJ.  133). 
BandinelU,  Baccio,  Flor.  S.,  1493-1560. 

—  (Iv.  473). 

Bandini,  Giov.  ( G.  dalV  Opera),  Flor. 

S.,  pupil  of  the  last,  ca.  1570. 
Baratla,   F^anc,   Rom.  S.,   pupil  of 

Bernini,  d.  1700. 
BarbarelU,  Giorgio,  see  Giorgione. 
Barbari,  Jac.  de\  Ven.  P.,  ca.  1450-1515. 
Barbieri,  see  Guercino. 
Baroccio,  Federigo,  Rom.  P.,  follower 

of  Correggio,  1528-1612. 

36'= 


564 


LIST  OF  ARTISTS. 


Barozzi,  Qiac,  see  Vignola. 
Bariolino  da  N'ovara,  Ferr.  andJIant. 

A.,  d.  1406. 
Bartolomeo  della  Porta,  Fra,  Flor.  P., 

1475-1517.  —  (IvUi.  471). 
Basaiti,  Marco,  Ven.  P.,  c.  Ii70-c.  1530. 

—  (291). 

Bassano,  Franc,  (da  Ponte),  the  Elder, 
father  of  Jacopo,  Ven.  P.,  ca.  1600. 

—  (280). 

,  the  Younger,  son  of  Jacopo, 

Ven.  P.,  1549-92. 
— ,  Jacopo  (da  Ponte),  Ven.  P.,  1510- 

92.  —  (280.  291). 
— ,  Leandro(da  Ponte),  son  of  Jacopo, 

Ven.  P.,  1553-1623. 
Batoni,  Pompeo,   of  Lucca,   Rom.  P., 

1708-87. 
Bazzi,  Oiov.  Ant.,  see  Sodoma. 
Beccafumi,  Domenico,  Sien.  P.,  1486- 

1551. 
Begarelli,    Ant.,  Mod.  S.,  1498-1565. 

—  ni.  372). 

Bellano,    Bart.,  Pad.    and  Flor.   S., 

pupil  of  Donatello,  1430-98. 
Bellini  Qentile,  brother   of  Giovanni, 

Ven.  P.,  ca.  1429-1507.  —  (\\\.  291). 
— ,  Giovanni,  Ven.  P.,  ca.  1430-1516.  — 

Oiii.  291). 
— ,  Jacopo,  father  of  Giov.  and  Gen- 

tile,Ven.P.,  ca.  1400-71.  -  (liii.  291). 
Belotto,  see  Canaletto. 
Bembo,  Bonifazio,  Creni.  P.,  after  1450. 
— ,  Gian.    Franc,     Crem.    P.,     16th 

century. 
Beretlini,  Pietro,  see  Cortona. 
Bergamasco,     Quglielmo     (Ougl.     dei 

Grigi),  Ven.  A.,  d.  1550. 
Bernini,  Giov.  Lorenzo,  Rom.  A.,  S., 

1598-1680. 
Bertoldo  di  Giovanni,  Flor.  S.,   pupil 

of  Donatello  and  teacher  of  Michael 

Angelo,  d.  1491. 
Betti,  Bernardino,  see  Pinturicchio. 
Bianchi  Ferrari,  Ferr.  and  Mod.  P., 

teacher  of  Correggio,  d.  1510. 
Bibbiena,    Ant.    Galli     da,    Bol.    A., 

1700-1774. 
Bicci  di  Lorenzo,  Flor.  P.  and  S.,  1373- 

1452. 
Bigio,  Franc,  see  Franciabigio. 
Bigordi,  see  Ghirlandaio. 
Bissolo,  Pier  Franc, Yen.  P.,  1464-1545. 
Boccaccino,  Boccaccio,  Crem.  and  Ven. 

P.,  ca.  1460-1518.  —  (203). 
Bologna,    Giov.    da    (Jean   Boulogne, 

from  Douai),   Flem.   and  Flor.  S., 

1529-1608.  -  (471). 
Boltraffio    (Beltraffio),    Giov.     Ant., 

Mil.  P.,  pupil   of  Leon,  da  Vinci, 

1467-1516.  —  (133). 
Bonannus,  Pisan  A.,  S.,  towards  the 

end  of  the  12th  cent.  —  (428). 


Bonasia,   Bart.,   Mod.   P.,   flourished 

ca.  1475. 
Bonifazio  the  Elder  (deiPitati),  d.  1540, 

the  Younger,   d.  1553,  the  Youngest 

(Veneziaiio),  flourished  ca.  1555-79, 

Ven.  P.  —  (Ixi.  245,  291). 
Bonone,  Carlo,  Ferr.  P.,  1569-1632. 
Boasignori,  Franc,  Ver.  P.,  1465-1519. 
Bonvicino,  see  Morelto. 
Bordone,    Paris,  Ven.  P.,    1500-1571. 

-  (Ixi.  291). 
Borgognone,   Ambrogio,    da  Fossano, 

Mil.  P.,  d.  1523  —  (133). 
Botticelli,  Aless.  or  Sandro  (Al.  Fili- 

pepi),  Flor.  P.,  1446-1510.  — (lii.  471). 
Bramante,  Donato,  Umbr.,  Mil.,  and 

Rom.  A.,  1444-1514.  —  (xlvi.  xlvii. 

133). 
Brea,  Lod.,  of  Nizza,  P.,  ca.  1500. 
Bregno,  Lorenzo,  Ven.  S.,  d.  1524. 
Briosco,  Andrea,  see  Riccio. 
—,  Ben.,  Lomb.  S.,  after  1500. 
Bronzino,  Angelo,  Flor.  P.,  1502-72.  — 

(Iviii.  471). 
Brueghel  the  Elder,  Jan,  Flem.  P.,  of 

Brussels,  son  of  Pieter  the  Elder, 

1568-1625. 

—  —  — ,  Pieter,  Dutch  P.  of  Breda, 
ca.  1525-69. 

—  the  Younger,  Pieter,  Flem.  P.  of 
Brussels,  son  of  the  preceding,  1564- 
1633. 

Brunelleschi  (Brunellesco),  Filippo, 
Flor.  A.,  S.,  1377-1446.  —  (xlvi. 
470). 

Brtisasorci  (Dom.  Ricci),  Ver.  P.,  1494- 
1567. 

Buffalmacco  (Buonamico  Cristo/ani), 
Pisan  P.,  ca.  1330.  --  (481). 

Buggiano  (Andrea  di  Lazzaro  de'  Cav- 
alcanti),  Flor.  S.,  pupil  of  Dona- 
tello, 1412-62. 

Bugiardini,  Giuliano,  Flor.  P.,  1475- 
1554. 

Buon,  Bart.,  the  Elder,  son  of  Gio- 
vanni, Ven.  A.,  S.,  d.  ca.  1465. 

— ,  Bart,  (the  Younger)  Bergamasco, 
Ven.  A.,  after  1500. 

— ,  Giovanni,  Ven.  A.  and  S.,  d.  before 
1443.  —  (290). 

— ,  Pantaleone,  son  of  Giovanni,  Ven. 
A.  and  S.,  15th  cent. 

Buonarroti,  see  Michael  Angelo. 

Buonconsiglio,  Giov.,  sumamed  Mare- 
scalco,  Vic.  P.,  flourished  ca.  1497- 
1537.  —  (265). 

Buonialenti,  Bern.,  Flor.  A.,  1536-1608. 

Busti,  Agost.,  see  Bambaia. 

Caccini,  Giov.  Batt., Flor.  A.,  1562-1612. 

Calidri,  Benedetto,  brother  of  P.  Ve- 
ronese, Ven.  P.,  1538-98. 

— ,  Carletto,  son  of  P.  Veronese,  Ven. 
P.,  1572-96. 


LIST  OF  ARTISTS. 


565 


Calidri,  OaWiele,  son  of  P.  Veronese, 

Ven.  P.,  1568-1G31. 
— ,  Paolo,  see   Veronese. 
Camaino,    Tino  di,   Sien.  S.,  d.  1339. 
Cambiaso,  Luca,  Gen.P.,  l5'27-85.-(80j. 
Cambio ,   Arnol/o    di,    Flor.   A.,    S., 

1232-c.  1301.  —  (470.  428). 
Campayna,  Giroldmo,'Ven.  S.,  pupil  of 

Jac.  Sansovino,  1550-1623.  —  f290). 
Campagnola,  Dom.,  Pad.  P.,  ca.  1484- 

1564(7). 
Campi,   Ant.,   son   of  the   following, 

Crem.  P.,  d.  ca.  1591.  —  (207). 
— ,  Galeazzo,  Crem.  P.,  1475-1536.  — 

(207). 
— ,  Oiulio,  son  of  the  preceding,  Crem. 

P.,  ca.  1502-72.  —  (207). 
Campione,  Matteo  da,  Lomb.  A.,  S., 

d.  13S6. 
Canaletlo  (Antonio  Canale),  Ven.  P., 

1697-1768.  —  (291). 
—  (Bern.  Belotto),  Ven.  P.,  1724-80. 

-  (291). 

Canova,  Antonio,  S.,  1757-1832. 

Caprina,  ifeo  del,  Flor.  A.,  1430-1501. 

Cavacci,  see  Carvacci. 

CaradoMo,  see  Foppa. 

Caravaggio,    Michaelangelo  Amerighi 

da,   Lomb.,  Kom.,   and  Neap.  P., 

1569-1609. 
— .    Polidoro  da,  Rom.,  Neap.,  and 

Sicilian  P.,  1495-1543.  —  (\ix). 
Cariani,  Oiov.  (Giov.  Busi),  Bergam. 

and  Ven.  P.,  ca.  1485-1541. 
Caroto.  Franc. ,y^T.  v.,  1470-1546.— 

Ox.  245). 
Carpaccio,  Vittore,  Ven.  P.,  flourished 

ca.  1481)- 1520.  -  r291). 
Carpi,  Girol.  da,  Ferr.  P.,  1501-68. 
Carracci,  Agostino, Bol.V.,  1557-1601. 

—  (390). 

— ,  Annibale,  brother  of  Agostino, 
Bol.  P.,  1560-1609.  —  (Ixii.  SCO). 

— ,  Lodovico,  cousin  of  Agostino,  Bol. 
P.,  1555-1619.  -  {3'.0;. 

Carraccino,  see  Mulinari. 

Carrucci,  see  Poniormo. 

Cattagno,  Andrea  del,  Fhir.  P.,  1390- 
1457.  —  (lii.  470). 

Castiglione,  Benedetto,  Gen.  P.,  1616- 
70.  —  (80). 

Catena  (  Vincenzo  di  Biagio),  Ven.  P., 
d.  1531.  -  (291). 

Cavaztola  (Paolo  Morando),  Ver.  P., 
1486-1522.  —  (\x.  7A5). 

Cavedoni,  Oiae.,  Bol.  P.,  1577-1660. 

Cellini,  Benvenuto,  Flor.  S.  and  gold- 
smith, 1500-1572.  —  (471). 

Cignani,  Carlo,  Bol.  P.,  1628-1719. 

CigoU  (Luigi  Cardi  do),  Flor.  P.,  1559- 
1613.  -  (471). 

Cima  (Giov.  Bail.  C.  da  Conegliano), 
Ven.  P.,  1459-1517.  -  (291.  348). 


Cimahiie,  Oiov.,  Flor.  P.,  1240?- after 

1302.  —  (xl.  428). 
Clone,  Andrea  di,  see  Orcagna. 
Oioni,  Andrea  de",  see  Verrocehio. 
Cittadelln,  see  Lombardi,  Alf. 
Ciuffagni,  Bernardo  di  Piero,  Flor.  S., 

1381-1457. 
Civerchio,   Vine,  Lomb.  P.,  ca.  1500. 
Civitali,   Matteo,    Lucca,    S. ,   1435- 

1501.  —  0-  443). 
Claude  le  Lorrain  (GelUe),  French  P., 

1600-1682. 
Clementi,  Prosp.,  S.  in  Reggio,  grand- 
son of  Bart.  Spani,  pupil  of  Michael 

Angelo,  d.  1584. 
Clouet,  Jehan,  Netherland. -French  P., 

d.  1540. 
Coducd,  3/oro,Ven.A.,  d.  1504.  — (290). 
Conegliano,  Oiov.  Batt.  da,  see  Cima. 
Correggio  (Antonio  Allegri  da),  Parm. 

P.,  1494-1534.  —  Gx.  365.  380). 
Cortona,  Pietro  ( Berettini)  da,    Flor. 

A.,  P.,  and  decorator,  1596-1669. 
Cosimo,  Piero  di,  see  Piero. 
Cossa,  Franc. ,  Ferr.  and  Bol.  P.,  d.  1477. 

—  (380). 

Costa,  Lorenzo,  Ferr.  and  Bol.  P.,  1460- 

1535.  —  (258.  380). 
Cranach,  Lucas,  German  P.,  1472-1553. 
Credi,  Lorenzo  di,  Flor.  P.,  1459-1537. 

—  (liv.  33.  471). 

Crespi,  Daniele,  son  of  the  following, 

Mil.  P.,  1590-1630.  —  (133). 
— ,   Giov.  Batt.  (il  Cerano),   Mil.  P., 

1557-1633.  —  (133). 
Crivelli,   Carlo,   Ven.    P.,   flourished 

ca.  1468-93.  —  (liii.  139.  291). 
Cronaca,  Simone  PoUaiuolo,  Flor.  A., 

1454-1508.  —  (470). 
Daniele,  Pellegrino  da  San,   see   Pel- 

legrino. 
Daiiti,    Vine,  Flor.  S.,  1530-76. 
David,  Gerard.  Flem.P.,  ca.  1450-1524. 
Deferrari,  Defendente,  see  Ferrari. 
Dolci,  Carlo,  Flor.  P.,  1616-86.  —  (471). 
Do7nenichino  ( Domenico  Zampieri),Bo\., 

Rom.,  and  Neap.  P.,  A.,  1581-1641. 

—  (Ixii.  3f0). 

Donatello  (Donato  di  Niccolb  di  Betto 
fiardi),  Flor.  S.,  1386-1466.  —  (1. 
470.  271). 

Dosso  Dossi  ((3iov.  di  Xiccolb  Lutero), 
Ferr.  P.,  ca.  1479-1542.  —  (Ix.  3tO). 

Dou,  Gerard,  Dutch  P.,  pupil  of  Rem- 
brandt, 1613-75. 

Duccio,  Agostino  d" Antonio  di,  Flor.  S. 
and  A.,  1418 -after  1481. 

— ,  di  Buoninsegna,  Sien.  P.,  d.  1319.  — 
(xl). 

Diirer,  Alb.,  German  P.,  1471-1528.  — 
(485). 

Dyck,  Ant.  van,  Antwerp,  Flem.  P., 
1599-1641.  —  (80). 


566 


LIST  OF  ARTISTS 


Elsheimer,  Adam,  Germ.  P.,  1578-1620. 
EmpoU,   Jae.   Chimenti  da,   Flor.  P., 

1554-1640. 
Fabriano,  Oeniile  da,  TJmbr.  P.,   ca. 

1370-1428.  —  Oiii.  291). 
Falconetto,    Qiov.    Maria ,    Ver.    and 

Pad.  A.,  P.,  1488-1534.  —  (xlvii). 
Fapresto,  see  Giordano. 
Farinato,  Paolo,  Ver.  P.,  ca.  1524-1606. 
Ferramola,    Floriano   or   Fioravante, 

Bresc.  P.,  d.  1528. 
Ferrari,  Defendente  de.  Pied.  P.,  1470- 

1532.  -  (33). 
— ,  Oaudemio,   Pied,   and  Lomb.  P., 

1471(?)-1546.  —  (33.  133.  71). 
Ferrucci,  Andr.,  Flor.  S.,  1465-1526. 
Fieravanti,   Fieravante,  Bol.   A.,   ca. 

1380-1447. 
Fiesole ,   Fra   Giovanni  Angelico   da, 

see  Angelico. 
_,  Mino  da,  Flor.  S.,  1431-84.  —  0). 
Filarete,  Ant.  (Ant.  Averulino),  Flor. 

A.,  S.,  d.  after  1465.  —  (133). 
Finiguerra,   Maso,  Flor.    goldsmith, 

1427 -after  1462. 
Fioravante,  see  Ferramola. 
Foggini,  Giov.  JBatt.,    Flor.  S.,  1652- 

1737. 
Foligno,   Nice.  (Aluwiio)  di  Liberatore 

da,  Umbr.  P.,  ca.  1430-1502. 
Fontana,  Carlo,  Rom.   A.,  1634-1714. 
— ,  Prospero,  Bol.  P.,  1512-97. 
Foppa,    Cristoforo,    surnamed    Cara- 

dosso,  Lomb.  and  Bom.  goldsmith, 

ca.  1445-1527.  -  (133). 
— ,  Vincenzo,  Lomb.  P.,  d.  ca.  1515.  — 

(133). 
Formigme  (Andrea  Marchesi), Bol.  A., 

S.,  ca.  1510-70. 
Francavilla  (Francheville),  Pieiro,  of 

Cambrai,  S.,  pupil  of  Giov.  da  Bo- 
logna, 1548 -ca.  1618. 
Francesca,  Piero  della  (Pieiro  di  Be- 
nedetto), Umbrian-Flor.  P.,  pupil  of 

Dom.Veneziano,ca.  1420-92.  — (Hi). 
Francia,  Francesco  (Franc.  Raibolini), 

Bol.  P.,  S.,  1450-1517.  —  (389). 
— ,  Giacomo,  son  of  the  last,  Bol.  P., 

ca.  1487-1557.  —  (390). 
Franciahigio  (Francesco  Bigio),  Flor. 

P.,  1482-1525.  —  (471). 
Francucci,  Innoc,  see  Iniola. 
Furini,  Franc,  Flor.  P.,  1604-1646.  — 

(471). 
Gaddi ,   Agnolo ,   Flor.    P. ,   pupil  of 

Giotto,  1333-1396.  —  (470). 
— ,  Gaddo,  Flor.  P.,  ca.  1260-1327. 
—     Taddeo ,   Flor.  P.,  A.,    pupil    of 

Giotto,  ca.  1300-66.  —  (470). 
Qarho,    RaffaelUno    del    (R.    Carli), 

Flor.  P.,  1466-1524. 
Oarofalo  (Benvenuto  Tisi  da), Ferr.  P., 

1481-1559.  —  (lix.  380). 


Gellie,  see  Claude  le  Lorrain. 
Ohiberti,   Lor.   (di   Cione),   Flor.  S. 

1381-1455.  —  (xlix.  470). 
Ohirlanddio ,   Bom.    (Dom.    Bigordi), 

Flor.  P.,  1449-94.  -  (lii.  471). 
Ohirlandaio,  Ridolfo,  son  of  the  last, 

Flor.  P.,   1483-1561.  —  Qviii.  471). 
Gianpietrino,  see  Pedrini. 
Giocondo,   Fra,   Ver.    and  Eom.   A., 

1435-1515.  —  (xlvi.  245). 
Giolfino,  Nice.,  Ver.  P.,  ca.  1486-1518. 
Giordano,  Luca,  surnam.ed  Fapresto, 

Neap.  P.,  ca.  1632-1705. 
Giorgione  (Giorgio  Barbarelli) ,  Ven. 

P.,  1477?-1510.  —  fix.  279.  291). 
Giottino  (Giotto   di  Maestro  Stefano), 

Flor.  P.,  pupil  of  Giotto,  14th  cen- 
tury. —  (470). 
Giotto  (di  Bondone),  Flor.  P.,  A.,  S., 

1267  (V)-1337.  —  (xl.  271.  470). 
Giovanni   da   San   Giovanni,   see   Satt 

Giovanni. 
Gobbo,  see  Solari. 
Goes,  Hugo  van  der,  Flemish  P.,   ca. 

1420-82. 
GozzoU,   Benozzo,   Flor.  and  Pis.  P., 

pupil  of  Fra  Angelico,  1420-c.  1497. 

—  (lii.  470.  428). 

Granacci,  Franc,  Flor.  P.,  1469-1543. 
Grandi,  Ercole  di  Giulio  Cesare,  Ferr. 

P.,  d.  1535  (V). 
Guardi,  Franc,  Ven.  P.,  1712-93. 
Guariento,  Pad.  P.,ca.  1310-77.  —  (291). 
Gnarini,  Guarino,  Mod.  and  Pied.  A.. 

1624-83. 
Gnercino,    il  (Giov.  Franc.  Barbieri), 

Bol.   and    Rom.   P.,  1591-1666.   — 

(37S.  330). 
Holbein,  Hanf,  the  Younger,  German 

P.,  1497-1543. 
Honlhorst ,     Gerh.    (Gkerardo    della 

Noite),  butch  P.,  1590-1656. 
Imola,  Innocenzo  da  (Inn.  Francucci), 

Bol.  P.,  1494-1549.  —  (390). 
Juvara,  Fil.,  Rom.,  Pied.,  and  Lomb. 

A.,  1685-1735. 
Kauffmann,  Maria  Angelica,  German 

P.,  1741-1807. 
Kranach,  see  Cranach. 
Landini,  Taddeo,  Flor.  and  Eom.  S., 

d.  1594. 
Lanfranco,    Giov.,    Bol.,    Rom.,    and 

Neap.  P.,  1581-1647. 
Lanini,  Bernardino,  Pied,  and  Lomb. 

P.,  d.  ca.  1578. 
Leonardo  da  Vinci,  Flor.  and  Mil.  P., 

S.,  and  A.,  1452-1519.  —  (liii.  133. 

471). 
Leoni,  Leone,  of  Arezzo,  Mil.  S.,  1509-92. 
Leopardi,  Aless.,ye.n.  S.,  A.,  d.  1522. 

—  (li.  290). 

Liberate  da   Verona,   Ver.  P.,  1451- 
1536.  —  (245). 


LIST  OF  ARTISTS. 


567 


Libri,  Girolamo  dai,  Ver.  P.,  1474-1556. 

-  (245). 
Licinio,  Bernardino,  Borgam.  and  Ven. 

P.,  flourished  ca.  1511-44. 
— ,  Giov.  Ant.,  see  Pordenone. 
Ligozzi,  Jac,  Flor.  P.,  1543-1627. 
Lionardo,  see  Leonardo. 
Lippi,  Filippiiio,   Flor.  P.,   ca.  1459- 

1504.  —  (455.  471). 
— ,  Fra  Filippo,  father  of  Filiopino, 

Flor.  P.,  ca.  1406-69.  —  (Hi.  271. 470). 
Loinbardi,  Alfonso   (Alf.    Ciitadella), 

Ferr.  and  Bol.  S.,  1497-1537.  —  (8S1). 
—  (Pietro,   d.  1515,  Antonio,  A.  1516, 

Tullio,  d.  1559,  Girolamo,  etc.),  Ven. 

A.  and  S.  —  (xlvi.  2S0). 
Lonqhena,  Bald.,  Ven.  A.,  1604-75.  — 

(290). 
Longhi,  Luca,  Rav.  P.,  1507-80. 
— ,  Pietro,  Ven.  P.,  1702-02. 
Lorenzetti,  Ambrogio  and  Pietro,  Sien. 

P.,  1st  half  of  14th  century. 
Lorenzo,  Don  (Lor.  Monaco),  Flor.  P., 

ca.  137U-1424? 
Lotto,  Lorenzo,  Ven.  P.,  1480-1556.  — 

(Ixi.  291). 
Luini,  Bernardino,  Lomb.  P.,  ca.  1470- 

ca.  1532.  —  (liv.  133.  12.  195). 
ifaiano,  Benedetto  da,  brother  of  Giu- 

liano,  Flor.  A.  and  S.,  1442-97.  — 

(470). 
— ,  GiuUano  da,  Flor.  A.,  1432-90. 
Manozzi,  see  San  Giovanni, 
ilantegazza,  Antonio,  brother  of  Cristo- 

foro,   Lomb.  S.,   d.  1491. 
— ,  Cristoforo,   Lomb.  goldsmith  aud 

S.,  d.  1482.  —  (133). 
Mantegna,  Andrea,  Pad.  and  Mant.  P., 

1431-1506.  —  (liii.  258.  271). 
Maratta,  Carlo,  Rom.  P.,  1625-1713. 
ilarcantonio  Raimondi,  Bol.  and  Rom. 

engraver,  ca.  1488-1527. 
Marchesi,  Andrea,  see  Formigine. 
Marconi,  Uocco,  Ven.  P.,  d.  1529.  — 

(291). 
Martini,  Bernardino,  see  Zenale. 
— ,  Siinone,   Sien.    P.,    ca.  1285-1344. 
Marziule,  Marco,  Ven.  P.,  flourished 

ca.  1492-1507. 
Masaccio   (Tommaso  di  Ser  Giovanni 

Guidi  da  Castel  San  Giovanni),  Flor. 

P.,  1401-28.  —  (li.  470). 
Masolino     (Tommaso     di     Cristofano 

Fini),  Flor.  P.,    teacher  of  Masac- 
cio, 1383-1440?  —  (188). 
Masiegne ,    Giacomello   and   Pierpaolo 

delle,  Ven.  S.,  ca.  1400.  —  (200). 
Matiys,  or  Massys,  Quinten,  Flem.  P., 

ca.  1466-1530. 
Mazza,    Giuseppe,  Bol.   and  Ven.   S., 

ca.  1600-80. 
Mazzola,Fil.,  father  of  Parmigianino, 

Parm.  P.,  ca.  1460-15U5. 


itazzola.  Franc,  sec  Parmigianino. 
Mazzolino,  Lodov.,  Ferr.  P.,  1481-1530. 

—  (380). 
Mazzoni,  Guido  (II  Modanino),  Mod. 

S.,  1450-1518.  —  (li.  372). 
Mazznola,  Franc,  see  Parmigianino. 
Meldola,  Andr.,  see  Schiavone. 
Melone,  Allobello  da,  Crem.  P.,  begin- 
ning of  the  16th  century.  —  (207). 
Memling,  Saris,  Flemish  P.,  1430-94. 
Mengs ,    Ant.    Raphael,    German   P., 

1728-79. 
Messina,   Antonello  da,   Sicilian   and 

Ven.  P.,  d.  ca.  1493.  —  (291). 
Metsu,  Gabriel,  Dutch  P.,  1630-67. 
Michael  Angelo  Buonarroti,  F\ov.  and 

Rom.  A.,  S.,  and  P.,  1475-1564.  — 

(xlvii.  liv.  389.  471.  508). 
Michelozzo,    Flor.   A.    and   S.,    1396- 

1472.  —  (133.  470). 
Modanino,  see  Mazzoni,  Guido. 
Monaco,  Lor.,  see  Lorenzo,  Bon. 
Montagna,  Bartol.,  Vic.  P.,  ca.  1450 

1523.  —  (265). 
— ,  Benedetto,   Vic.   P.,    son  of  the 

last. 
Montelupo,   Baccio  da,   Flor.  S.    and 

P.,  1469-1535. 
— ,  Raffaello  da,  son  of  Baccio,  Flor. 

S.,  1505-67. 
Montor/ano,  Giov.  di,  Lomb.  P.,  flour- 
ished 1448-71. 
Montorsoli,  Fra  Giov.  Ang.,  Flor.  S., 

assistant  of  Michael  Angelo,  1507-63. 
Morando,  Paolo,  see  Cavazzola. 
Moretto  da  Brescia  (Alessandro  Bon- 

vicino),    Bresc.    P.,    1498-1555.    — 

(219.  223). 
Morone,  Dom.,  Ver.  P.,  1442-150?.  — 

(245). 
— ,  Franc,  son  of  the  preceding,  Ver. 

P.,  1474-1529.  —  (245). 
Moroni,    Giov.   Bait.,     Bergam.    and 

Bresc.  P.,  c;i.  1520-77.  —  (220). 
Mmiari,  Pellegrino  (Aretusi),  Mod.  and 

Ferr.  P.,  d.  1523. 
Murano,    Ant.    and   Bartol.    da ,    see 

Vivarini. 
— ,  Giov.  da,  see  Alemannus. 
Murillo,  Bartolomi  Estiban,  Span.  P., 

1617-82. 
Nanni  (d'' Antonio)  di  Banco,  Flor.  S., 

ca.  1373-1420. 
Nelli,  Ottaviano,  Umbr.  P.,  d.  1444.  — 

(liii). 
Nese,    Cellino  di.  Pis.  S.,   flourished 

ca.  1333-75. 
Notte,  Oher.  della,  see  Eonthorst. 
Oggiono,  Marco  d\  Mil.  P.,  pupil  of 

Leonardo,   ca.  1470-1530.   —  (133). 
Onofri,  Vine.,  Bol.  S.,   flourished  ca. 

1480-1506.  —  (389). 
Opera,  Giov.  daU\  see  Bandini. 


568 


LIST  OF  ARTISTS. 


Orcagna  (Andr.   di  done),    Flor.  A., 
S.,  and  P.,  pupil  of  Giotto,  1329-68. 

—  (470). 

Padovanino  (AUit.  Varotari),  Ven.  P., 

1590-1650.  —  (291). 
Paggi,  Oiov.  Batt.,  Gen.  P.,  1554r-1627. 

-  (80). 

Palladia,  Andr.,  Vic.   and  Ven.  A., 

1518-80.  —  (xlviii.  290.  265). 
Palma  Oiovane,  Jac,  Ven.  P.,  1544- 

1628.  —  (291). 
—  Vecchio  (Jac.  JVegretU),  of  Serena, 

Ven.  P.,  1480-1528.  —  (Ix.  291). 
Palmezzano,  Marco,  of  Forii,  P.,  ca. 

1456-1537. 
Panetti,  Domen.,  Ferr.  P.,  1460-1512. 
Parmigianino  ( FraDC.  Mazzola),  Parm. 

P.,  1503-40.  —  (365). 
Pedrini,  Giov.  (Oianpietrino),  Lomb.  P., 

pupil  of  Leon,  da  Vinci,  flourished 

ca.  1508-21.  —  (133). 
Pellegrini,  see  Tihaldi. 
Pellegrino  da  San  Daniele,  P.  of  Friuli, 

ca.  1470-1547. 
Penni,  Franc,  (il  Fattore),  Flor.  and 

Rom.  P.,   pupil   of  Raphael,   1488- 

1528.  —  Oix). 
Pericoli,  see  Tribolo. 
Perugino ,     Pietro    (Pielro    Vanucci), 

Umbr.    &    Flor.,    P.,    teacher    of 

Raphael,  1446-1524.  —  Oiii-  Ivii). 
Peruzzi,  Baldass.,  Sien.  and  Rom.  A., 

and  P.,  1481-1537.  —  (xlvii.  389). 
Pesellino  (Francesco  di  Ste/ano),  Flor. 

P.,  grandson  of  Pesello,  1422-57.— 

(470). 
Pesello,  OiuUano  (Giul.  d'Arrigo),  Flor. 

P.,  S  ,  A.,  1367-1446. 
Piazza,  Calisto,  da  Lodi,  Lomb.  and 

Ven.  P.,  1524-57. 
Piermarini,  Oius.,  Lomb.  A.,  1734-1808. 
Piero  di  Cosimo  (Pietro  di  Lorenzo), 

Flor.  P.,  1462-1521.  —  (471). 
Pietro,   Oiov.  di,  see  Spagna. 
— ,  Lor.  di,  see  Vecchietta. 
Pinturicchio  (Bernardino  Betti),  Umbr. 

P.,  1464-1513.  —  (liii). 
Piola,  Pellegvo,  Gen.  P.,  1607-30. 
Piomho,   Sehast.   del,   see  Seiasliano. 
Pippi,  Oiulio,  see  Romatio. 
Pisanello,  see  Pisano,  Viitore. 
Pisano,    Andrea   (Andrea   di    Vgolino 

Nini),  Pisan  S.,  1273-1348.  —  (428). 
— ,  Giov.,  Pisan  A.  and  S.,  son  of  Nic- 

colo,  ca.  1250- ca.  1328.  —  (428). 
— ,  Giunta,  Pisan  P.,   ca.  1202-58.  — 

(428). 
— ,  Niecolb,  Pisan  A.  and  S.,  ca.  1206- 

80.  —  (xxxix.  389.  428). 
— ,  Nino,   Flor.   and  Pis.  S.,    son   of 

Andrea,  d.  before  1368. 
— ,  Vittore (Pisanello),  Ver. P.,  ca.  1380- 

1451.  —  (245.  29i). 


Poccetti,  Bernardino,   Flor.  P.,   1542- 

1612. 
Pollaiuolo,  Ant.,  Flor.  A.,  S.,  and  P., 

1429-98.  -  (470). 
— ,  Piero,  Flor.  S.  and  P.,  brothor  of 

Antonio,  1443 -ca.  1496.  —  (470). 
Ponte,  Giov.  da,  Ven.  A.,  1512-97.  — 

(290). 
— ,  Franc,   Jac,    Leandro   da,    see 

Bassano. 
Pontormo,  Jac  (Carrucci)  da,  Flor.  P., 

1494-1557.  —  (Iviii.  471). 
Pordenone,   Giov.  Ant.  (0.  A.  de  Sac- 

chis  da    P.),    Friuli  and   Ven.  P., 

1483-1539.  —  (Ixi.  591.  348). 
Pordenone,  see  also  Licinio,   Bernar- 
dino. 
Porta,  Bart,  delta,  see  Bartolomeo. 
— ,  Oiac.    della,    Lomb.  A.    and  S., 

1541-1604. 
— ,  Guglielmo  della,  Lomb.  and  Rom. 

S.,  d.  1577. 
Poussin,  Oaspard  (O.Dughet),  French 

P.,  1613-75. 
— ,  Nicolas,   French  P.,  1594-1665. 
Predis,  Ambrogio  de,  Lomb.  P.,  ca.l500 
Prete  Genovese,  see  Strozzi. 
Previtali,  Andrea  (surnamed  Cordeg 

liaghi),  Bergam.  and  Ven.  P.,   ca 

1480-1525?  —  (291). 
Pnmaticcio,  Francesco, 'Bol.  andMant 

P.,  1490-1570.  —  (258). 
Procaccini,    Camillo,    3111.    P.,    1546' 

ca.  1609.  -  (133). 
— ,  Ercole,    the  Elder,   father  of  the 

last,  Mil.  P.,  b.  1520,  d.  after  1591. 
— ,  Ercole,  the  Younger,  Mil.  P.,  1596- 

1676.  —  (133). 
— ,  Giulio  Gesare,  brother  of  Camillo, 

Mil.  P.,  1548?- ca.  1626. 
PuUgo,  Dom.,  Flor.  P.,  1475-1527. 
Quercia,  Jac.  della  (or  J.della  Fonte), 

Sien.  S.,  1374-1438.  —  (389). 
Raffaello,  see  Raphael. 
Raibolini,  see  Francia. 
Raimondi,  see  Marcantonio  Raimondi. 
Ramenghi,  Bart.,  see  Bagnacavallo. 
Raphael  (Raffaello  Sa7iti  da  Urhino), 

tJmbr.,  Flor.,  and  Rom.  P.  and  A., 

1483-1.520.  —  (xlvii.  Ivii.  471). 
Rembrandt  Harmensz  van  Rijn,  Dutch 

P.,  1606-69. 
Reni,    Ouido,   Bol.  P.,    1574-1642.  — 

(Ixii.  390). 
Ribera,  see  Spagnoletio, 
Ricci,  see  Brusasorci. 
Ricciarelli,  see  Volterra,  Daniele  da. 
Riccio  (Andrea  Briosco),  Pad.  A.  and 

S.,  1470-1532.  —  (xlvii). 
Rizzo,  Antonio,  Ver.  Si  Ven.  8.  &  A., 

ca.  1430- ca.  1493.  -  (290). 
Robbia ,    Andrea    della ,    nephew    of 

Luca,  Flor.  S.,  1437-1528, 


LIST  OF  ARTISTS. 


569 


nobbia,  Qiov.  delta,  son   of  the  last, 

FJor.  S.,  1469-1529? 
— ,  Luca  delta,  Flor.  S.,  1400-82.  — 

(xlix.  470). 
Roberti,  Ercole  d«',  Ferr.  and  Bol.  P., 

d.  1496.  —  (380). 
Robusti,  ."iee  Tintoretto. 
Rodari,  roOT.,Lomb.S.  (J:A.,Gourislied 

ca.  1487-1533.  —  (133). 
Romanino,  Girdldmo,  Bresc.  P.,  1485- 

1566.  —  (220). 
Romano,    Gian   Cristoforo   (Cristoforo 

de'    Ganti),   Rom.    and    Lomb.    S., 

ca.  1465-1612. 
— ,  Giulio  (G.  Pippi),  Rom.  and  Mant. 

P.  and  A.,  pupil  of  Raphael,  1492- 

154G.  —  (slvii.  258.  260). 
Rondinelli,  Niccolb,  Rav.  and  Ven.  P., 

ca.  15C0.  —  (291). 
Rosa,  Salvator,   Neap,  and  Rom.  P., 

1615-73. 
Rosselli,  Cosimo,  Flor.  P.,  1439-1507. 

—  (Hi). 

Rossellino,  Anl.  (Ant.  di  Matteo  0am- 

herein),  brother  of  Bernardo,  Flor. 

S.  and  A.,  1427-ca.  1478.  —  (1). 
— ,  Bernardo,  Flor.  and  Rom.  A.  and 

S.,  1409-64. 
RosKi.   Froperzia  de\  Bol.  S.,    1490- 

1530.  —  (389). 
Rosto  (Giovanni  di  Bartolo),  Flor.  S., 

assistant    of  Donatello,    d.    after 

1451. 
Rovezzano,  Benedetto  da,  Flor.  S.,  1476- 

15.56. 
Rubens,  Peter  Paul,  Flem.  P.,    1577- 

1640.  —  (80.  258). 
Rustici,  Giov.  Franc,  Flor.  S.,  pupil 

of  Leon,  da  Vinci,  1474-1554.  —  (1). 
Rvysdael ,    Jac.  van ,    Dutch  P. ,    ca. 

1628-82. 
Sabattini ,   Andr. ,  see  Salerno,  An- 
drea da. 
Salaino,  Andr.,  Mil.  P.,  pupil  of  Leon. 

da  Vinci,   flourished  ca.  1495-1515. 

—  (liv.  133). 

Salerno,  Andrea  da  (Andr.  Sabattini), 
Neap.  P.,  pupil  of  Raphael,  1480- 
1545.  —  (lix). 

Salvi,  Oiov.  Batt.^  see  Sassoferrato. 

Salviati,  Franc.,  Flor.  and  Rom.  P., 
1510-63. 

Sanctis,  Andriolo  de,  Ven.  S.,  d.  1377. 

—  (290). 

Sangallo,  Ant.  da,  (he  Elder,  Flor.  A., 

1455-1534. 
— ,  Ant.  da,  the  Younger,  nephew  of 

the  preceding,  Flor.  A.,  1485-1546. 

—  (xlvil). 

— ,  Francesco,  son  of  Giuliano,  Flor. 

S.,  1494-1576. 
— ,   Giuliano  da,  brother  of  Antonio 

the  Elder,  Flor.  A.,  1445-1516. 


San    Giovanni ,    Giov.   (Uanozzi)    da, 

Flor.  P.,  1599-1636. 
Sanmicheli,   Michele,   Ver.  A.,   1484- 

1559.  —  (xlvii.  24o). 
Sansovino,  Andrea  da  (Andr.  Conlucci, 

of  Monte  San?ovino),  Flor.  and  Rom. 

S.,  1460-1529.  —  (1). 
— ,  Jac.  (J.  Tatli),  Flor.,  Rom.,  and 

Ven.  A.,   pupil   of  the   preceding, 

1486-1570.  —  (xlviii.  290). 
Santa  Croce,  Franc,  da,  IJte  Younger, 

Ven.  P.,   after  1500. 

,  Gird,  da,  Ven.  P.,  d.  ca.  1550. 

Santi,  Giov..  father  of  Raphael,  Umbr. 

P.,  ca.  1450-94. 
— ,  Raffaello,  see  Raphael. 
— ,  di  Tito,  Flor.  P.,  1538-1603. 
Sarto,  Andrea  del  (Andrea  d^Agnolo), 

Flor.  P.,  1486-1531.  —  (Iviii.  471). 
Sassoferrato  (Giov.  Batt.  Salvi),  Rom. 

P.,  1605-85. 
Savoldo,  Girdlamo,  Bresc.  P.,  1508-48. 
Scamozzi,  Vine,  Ven.  A.,  1552-1616.  — 

(290). 
Scarpagnino  (Ant.  Abbondi),  Ven.  A., 

ca.  1490-1549. 
Scarseltino    (Ippol.   Scarsella),    Ferr. 

P.,  1551-1621. 
Schiavone  (Andr.  Meldolla),  Ven.  P., 

1522-82. 
— ,  Oregorio,  Pad.  P.,  flourished  1441- 

70. 
Schidone,  Bart.,  Mod.  P.,  d.  1615. 
Sebastiano   del  Piombo  (Seb.  Luciani), 

Ven.    and   Rom.  P.,    1485-1547.    — 

(Ivii.  Ixi.  291). 
Sesto,  Cesare  (ia,Mil.P.,pupilof  Leon. 

da  Vinci,  d.  before  1521.  —   (133). 
Settignano ,    Desiderio  da,    Flor.   S., 

1428-64.  —  (1). 
Signorelli,  Luca,   Tuscan-Umbr.   P., 

ca.  1460-1523.  —  (Hi). 
Sirani,  Elisahetta,  Bol.  P.,  1638-65. 
Sddoma,  il  (Giov.  Ant.  Bazzi),  Lomb., 

Sien.,  and  Rom.  P.,  ca.  1477-1549. 

—  (Ivlii.  33.  133). 

Solari,  Cristoforo,  surnamed  il  Oobbo, 
Mil.  S.  and  A.,  d.  ca.  1525.  —  (H.  133). 

— ,  Guini/orte,  Lomb.  A.,  1429-Sl. 

Solario,  Andrea  (Andrea  del  Gobbo), 
Lomb.  P.,  flourished  ca.  1495-1515. 

-  (133). 

Spada,   Lionello,  Eol.  P.,  1556-1622. 
SpagnoUllo  (Gius.  Ribera),  Span,  and 

Neap.  P.,  1588-1656. 
Spani.  Bart.  (al.«o  called  Bart.Clementi), 

S.  and  A.  in  Reggio,  146S-153S. 
Sperandio,   Niccolo,   Mant.    and  Ferr. 

S.,  A.,  and  P.,  ca.  1425- ca.  1495. 
Speranza,    Giov.,    Vic.  P.  ,    pupil  of 

Mantegna. 
Spinello  Aretino,    Flor.  P.,    pupil  of 

Giotto,  1318-1410.  —  (471). 


570 


LIST  OF  ARTISTS. 


Squarcione,   Franc,    Pad.   P.,    1397- 

1474.  —  (271). 
Stefano,  Francesco  di,   see  Pesellino. 
Strozzi,   Bernardo  (il  Cappuccino  or 

il   Prete   Oenovese),   Gen.  P.,   1581- 

1644.  —  (80). 
Suslermans,  Justus,  Flem.  P.,  worked 

in  Florence,  1597-1681. 
Tacca,  Pielro,  Flor.  S.,  pupil  of  Giov. 

da  Bologna,  ca.  1580-16i0. 
Tafi,  Andrea,  Flor.  P.,  ca.  1250- ca. 

1320. 
Tntli,  Jacopo,  see  Sansovino. 
Tenters,  David,  the  Younger,  Flem.  P., 
*     1610-!;0. 
Thorvaldsen,    Bertel,    S.,   of  Copen- 
hagen, 1770-1844. 
Tiarini,  Aless.,lio\.  P., 1577-1608.(365). 
Tibaldi  ( Pellegrino   Pellegriiii),    Bol. 

A.  and  P.,  1532-96.  —  (133). 
Tiepolo,  Giov.  Salt.,    Ven.  P.,    1693- 

1770.  —  (291). 
Tintoretto,  Domenico  (Dom.  Robusti), 

son  of  tie  following,  Ven.  P.,  1562- 

1637. 
— ,   il  (Jac.  Robusti),  Ven.  P.,   1518- 

1694.  —  (Ixi.  291). 
Tisi,  Ben  ven.,  see  Oarofalo. 
Titian   (Tiziano    Vecelli   da    Cadore), 

Ven.  P.,  1477-1576.  —  (Ix.  291.  348. 

380). 
Torbida,  Franc,   (il  Moro),   Ver.  P., 

d.  after  1546. 
Traini,  Franc,  Pis.  P.,  ca.  1350. 
Treviso,   Girol.  da  (Girol.  Pennacchi), 

Friul.  and  Ven.  P.,  1497-1544. 
Tribolo  (Jficc.  Pericoli),  Flor.  S.,  1485- 

1550. 
Tnra,  Cosimo,  Ferr.P. ,  1432-96.—  (3S0). 
Uccello,  Paolo  (Paolo  di  Dono),  Flor. 

P.,  1397-1475.  -  (271.  4T0). 
Udine,  Giov.  Nanni  da,  Ven.  and  Rom. 

P.,  assistant  of  Raphael,  1487-1564. 

—  (lix.  350). 
Vaga,   Perin   del,  Flor.,   Rom.    and 

Gen.  P.,  pupil  of  Raphael,  1499- 

1547.  —  (lix.  Ix.  90). 
Tan  Dyck,  see  Dyck. 
Vanni,  Franc,  Sien.  P.,  1565-1609. 
Vanucci,  Pietro,  see  Perugino. 
Vanvitelli,  Lodov.,    Rom.  P.  and  A., 

1700-1773. 


Varotari,  Aless.,  see  Padovanino. 
Yasari,    Giorgio,  Flor.   P.,   A.,   and 

historian  of  art,  1512-74.  —   (471). 
Vecchielta  (Lorenzo  di  Pietro),    Sien. 

S.,  A.,  and  P.,  1412-80. 
Vecelli,  Franc,  Ven.  P.,   brother  of 

Titian,  d.  1559. 
— ,   Marco,   Ven.  P.,    a   relative   of 

Titian,  1546-1611. 
— ,  Tiziano,  see  Titian. 
Velazquez  (Diego  Rodriguez  de  Silva  V.), 

Spanish  P.,  1599-1660. 
Veneziano,  Ant.,  Flor.  P.,  d.  ca.  1387. 
— ,  Dom.  (Dom.  di  Bartolomeo),  Flor. 

P.,  ca.  1400-61. 
Venusii,  Marcello,  Rom.  P.,  pnpil  of 

Michael  Angelo,  1515-79.  —  (Ivii). 
Veronese,  Paolo  (P.  Caiiari),  Ver.  and 

Ven.  P.,  1528-88.  —  (Ixi.  245.  291). 
Verrocchio,    Andrea    (A.    de''    Cioni), 

Flor.  S.  and  P.,  1436-88.  —  (1,  liv. 

470). 
Vignola  (Giacomo  Barozzi),  Bol.  and 

Rom.  A.,  1507-73. 
Vincenzo,  Ant.  di,  Bol.  A.,  d.  ca.  1402. 
Vinci,  Leonardo  da,  see  Leonardo. 
Viti,  Timoteo  (or  Timoteo  delta  Vite), 

Bol.  and  Umbr.  P.,  Raphael's  first 

teacher,  1487-1523.  —  (lix.  390). 
Vittoria,  Aless.,  Ven.  S.  and  A.,  1525- 

1608.  —  (290). 
Vivarini,  Alvise  (or  Luigi),  Ven.  P., 

flourished  1464- ca.  1503.   —  (liii. 

291). 
— ,  Ant.  (Ant.  da  Murano),  Ven.  P., 

ca.  1440-70.  —  (liii.  291). 
— ,  Bart.  (Bart,   da  Murano),    Ven. 

P.,  ca.  1450-99.  —  (liii.  291). 
Vollerra,  Daniele  da  (D.  Ricciarelli), 

Rom.    P. ,    S. ,    pupil    of    Michael 

Angelo,  1509-1566.  —  (Ivii). 
Wevden,  Rogier  van  der,  Flemish  P., 

1399  (or  14001-1464. 
Wouvei'inan,  Philips,  Dutch  P. ,  1619-68. 
Zampieri,  see  Domenichino. 
Zelotti,  Giambatt.,  Ver.  P.,  assistant 

of  P.  Veronese,  1532-92. 
Zenale  (Bernardino  Martini),  liOmb. 

P.,  1436-1526. 
Zevio,  see  Altichiero. 
Zucchero  (Zucearo),  Federigo,  Flor,  P., 

1560-1609.  —  (Ixi). 


INDEX. 


Abano  376. 
Abbadia  178. 
Abbiategrasso  190. 
S.  Abbondio  (near  Coino) 
169. 

—  (near  Lugano)  13. 

—  (near  Menaggio)  179. 
Abetone,  Passo  deir  408. 
Abries  45. 
Acquasauta  5'2. 
Acquaseria  179. 

Acqui  52. 

Adda,  the  18.    170.   174. 

178.  etc. 
Adige,   the   20.  236.  244. 

377. 
Adria  378. 

.«:inilia,  Via  356.  361. 365. 
Affi  236. 
Affori  171. 
S.  Agata  194. 
AgUana  454. 
Acliano-Castelnuovo- 

Cak-ea  52. 
Agno  184. 

Agogna,  Val  d'  170. 
Agra  13. 
Aia,  L'  554. 
Airasca  44. 
Airole  48. 
Airolo  7. 
Aix-les-Bain.s  1. 
Ala  22. 

—  di  Stura  48. 
Alagua  72. 
Alassio  98. 
Alba  50. 

Albano,  Monte  441. 
Albate  167. 
Albenga  97. 
Alberoni  345. 
Albino  215. 

S.  Albino  186. 
Albisano  236. 
Albissola  96. 
Albizzate  185. 
Albogasio  183. 
Albonago  14. 
Aldesago  14. 
Alessandria  53. 
Alfonsine  386. 
Alice-Bel  Cello  52. 
Alserio,  Lago  d'  171. 


lAltissimo  233. 
Ulto  di  Sella  123. 
AUopascio  449. 
Alzano  215. 
Alzo  70. 
Ambri  7. 
Ambria  214. 
Ambrogiana,    Villa  441. 
S.  Ambrogio  Varese  1S6. 

—  Verona  236. 

—  (near  Turin)  2. 
Ameglia  119. 
Ampola,  Val  239. 
Amsteg  6. 
Andeer  17. 
Andora  98. 
Andorno  65. 
Anfo  229. 
Angora  201. 
Angrogna  44. 
Annone,  Lago  d'  170. 
Antignano  439. 
Antola,  Monte  361. 

S.  Antonio  (Bormio)  181, 

—  (Mantua)  257. 

—  di  Ranverso  3. 
Antoroto,  Monte  5'J. 
Antrona  Valley  69. 
Anzano  del  Parco  169. 
Anzasca,  Val  69. 
Aosta  57. 
Apennines,  the  73.  190. 

357. 
Apennino  562. 
Aprica,  Passo  d'  227. 
Apuan  Alps  123. 
Aquileia  352. 
Aranco  66. 
Arbo€,  Tour  d'  64. 
Arbole,  Col  d'  62. 
Arbostora,  Mte.  184. 
Arcisate  187. 
Arco  239. 
Areola  119. 
Arcole  264. 
Arconati,  Villa  175. 
Arcore  170. 
Ardenno  181. 
Ardenza  439. 
Ardesio  215. 
Arena-Po  357. 
Arenzano  95. 
Arera,  Monte  214. 


Arezzo  562. 

Argegno  175. 

Argcnta  3?6. 

Argentera  47. 

-,  L'  124. 

— .  Punta  deir  46. 

Arietta  62. 

Arizzano  196. 

Armeno  201. 

Armetta,  the  .50. 

Ainaz  55. 

Arni  124. 

Arno,    the  427.  465.  .560. 

Arola  70. 

Arona  201. 

Arosio  171. 

Arp,  Monte  V  46. 

Arpaia,  Grotta  118. 

Arpisson  62. 

Arquk  Petrarca  377. 

—  Polesine  378. 
Arquata  53. 
Arsiero  269. 
Arth-Goldau  6. 
Arvier  59. 
Arzignano  269. 
Asciano  437. 
Ascona  193. 
Asola  263. 
Asolo  279. 
Assina,  ValP  172. 
As.so  172. 
Astano  15. 

Asti  51. 
Aulla  371. 
Avenza  119. 
Avigliana  3. 
Avio  22. 

Aviolo,  Monte  227. 
Avise  99. 
Aymaville  58. 
A/.zano  176. 

Bacchiglione,  the  265. 

270. 
Badia  a  Prataglia  561. 

—  di  Fiesole  555. 

—  di  Poniposo  386. 
Badile,  Pizzo  227. 
Bagnacavallo  409. 
Bagnolo  in  Piano  364. 
Bagolino  229. 
Baiardo  103. 


572 


INDEX , 


Baldo,  Monte  238. 
Balerna  16. 
Baliua  65. 
Balme  43. 
Balmuccia  72. 
Barucca  115. 
BaraUello,  Cast.  167. 
Barasso  188. 
Barbana,  Island  354. 
Barbe  195. 

Barbellino,  Concadel216. 
Barberino  di  Mngello407. 
Bard  55. 
Bardolino  236. 
Bardoney,  Colle  62. 
Bardonnecchia  2. 
Barge  44. 
Barghe  229. 
Barni  172. 
Barro,  Monte  170. 
St.  Barth^lemy,  Val  56. 
S.  Bartolomeo,  Mte.  232. 
Barzano  167. 
Basaano  280. 
Bastia  60. 
Battaglia  377. 
Baveno  198. 
Bee  196. 

Bego,  Monte  48. 

Beinette  49. 

Belbo  50. 

Belgioioso  205. 

Belgirate  201. 

Bellagarda.  Monte  43. 

Bellagio  176. 

— ,  Punta  di  178. 

Bellano  179. 

Bellavista  (Monte  Gene' 
roso)  16. 

— ,   the  (Lago  Maggiore) 
196. 

Bellegarde  1. 

Bellinzona  8. 

Bellori  256. 

Belluno  347. 

Belmonte,  Villa  177. 

Belvedere     (near    Aqui- 
leia)  353. 

Benabbio  449. 

Benedetta,  Valle  440. 

Bene-Grona  182. 

Beni,  Monte  407. 

Berbenno  181. 

Berceto  371. 

Bergamo  209. 

Bergeggi  96. 

Berici,  Monti  256.  265. 

Bernabo  449. 

S.l,Bernardo,  Church  14. 

— ,  Monte  15. 

Bernina  181. 

Besana,  Villa  175. 

Beseno,  Castle  21. 


Besimauda,  the  49. 

Bosozzo  185. 

Bessanese,  Monte  43. 

Bettola  360. 

Beura  4. 

Bezzecca  239. 

Biacesa  239. 

S.  Biagio  della  Cima  106. 

Bianco  Canal  378. 

Biandrate  16. 

Biandronno,  Lago  di  186. 

Biasca  8. 

Bibbiena  562. 

Biella  64. 

Bieno  193. 

Biforco  561. 

Bignone,  Monfc  103. 

Bigogna  13. 

Bigorio  14. 

Binaaco  162. 

Bioggio  15. 

Bioglio  64. 

Bironico  8. 

Bisbino,  Monte  174. 

Bisenzio  407. 

Bia.sone  184. 

Bisuschio  187. 

Bizzozero  186. 

Blevio  174. 

Bo,  Mte.  65, 

Boara  377. 

Bobbio  361. 

—  Pellice  44. 
Bocca  d'Arno  437. 

—  di  Lupo  559. 
Bodio  8. 

Boglia,  Monte  14. 
Bogliaco  234. 
Bogliasco  109. 
Bognanco  4. 
Boletto  70. 
Holla,  Alp  14. 
Bolladore  181. 
Bologna  386. 

Accademia   di  Belle 

Arti  401. 
Antiquities,  Museum  of 

393. 
S.  Apollonia  '506. 
Archives  384. 
Archigiunasio  304 
Banca  d'ltalia  394 
S.  Bartolomeo  di  Porta 

Ravegnana  399. 
BibliotecaComun.  394. 
Campo  Santo  406. 
Casa  Malaguti  397. 
Cassa  di  Risparmio397. 
Cathedral  398. 
S.  Cecilia  400. 
Certosa  406. 
Church   Festivals  388. 
Collegio  di  Spagna396. 


Bologna : 

Corpus  Domini  395. 
S.  Domenico  395. 
English  Church  Serv. 

388. 
Foro  de'  Mercanti  397. 
Foscherari's  Monument 

395 
S.  Francesco  396. 
Galvini'a  Statue  394. 
Garibaldi's  Statue  405. 
Geolog.  Museum  404. 
S.    Giacomo   Maggiore 

400. 
Giardini  Margherita 

405. 
S.Giovanni    in   Monte 

398. 
Gregory   xiii.,    Statue 

of  380. 
Guildhouse    of  the 

Weavers  397. 
Leaning  Towers  397. 
Library  394. 
— ,  University  401. 
MadounadelBaraccano 

399. 

—  di  Galliera  397. 

—  di  S.  Luca  406. 
S.  Maria  dei  Servi  399. 

—  della    Misericordia 
405. 

—  della  Vita  391. 
S.  Martino  404. 
Mercanzia  397. 
S.  MicheleinBosco  4C5. 
Minghetti's  Statue  397. 
Montagnola,  La  405. 
Mfinte     della    Guardia 

406. 
Museo  Civico  392. 

—  Gozzadini  394. 

—  di  S.  Petronio  392. 
Orthopsedic  Inst.  405. 
Palazzo  Albergati  396. 

—  Amorini  -  Bolognini 
398. 

—  Arcivescovile  397. 

—  Bentivoglio  404. 

—  Bevilacqua  396. 

—  Bovi-Silvestri  398. 

—  Cloetta  400. 

—  Comunale  390. 

—  Fantu/./i  400. 

—  Fax  a  397. 

—  Galvani  392. 

—  di  Giufltizia  895. 

—  Guidotti  394. 

—  Icolani  389. 

—  Magnani-Salem4(X). 

—  Malvezzi  -  Campeggi 
400. 

Medici  400. 


INDEX. 


573 


Bologna: 
Palazzo  Harescalchi 
391. 

—  Mont.peiisier  391. 

—  Pepoli  3'J7. 

—  del  Pedes  ta  390. 

—  Ranuzzi  3'J9. 

—  del  Ke  Enzio  391. 

—  Rossi  399. 

—  Sampieri  399. 

—  Tacconi  398. 

—  Trotti  399. 

—  Zambeccari  396. 
Pallonc,  Arena  del  387. 
S.  Paolo  396. 
Paasegsiicri's     Mon- 
ument 395. 

S.  Petrouio  391. 
Piazza  Cavoiir  394. 

—  Galileo  394. 

—  Maggiore  39!  K 

—  Malpifibi  396. 

—  S.  Martino  404. 

—  del  Nettuno  3:10. 

—  deirOlU)  Ago3to406 

—  Rossini  400. 

—  Vitt.  Knianuele  390. 
S.  Pietro  396. 
Pinacoteca  401. 
Porta  Galliera  405. 

—  S.  Isaia  406. 

—  Sarago/za  406. 
Portico  de'  Hanchi  391 
Post  Office  387. 
Railway  Station  386. 
Rossini's  House  399. 
S.  Salvatore  391. 
Spirito    Santo,   Chapel 

396. 
S.  Stefano  398. 
Theatres  387. 
Torre  Asinelli  397. 

—  Garisenda  397. 
University  401. 
Via  delle  Asse  391. 

—  Castiglione  397. 

—  Mazzini  399. 

—  Iiiilipcndenza  306. 

—  Rizzoli  397. 

—  S.  Stefano  398. 

—  Zaiulioni  40J. 
VictorEman. 11.,  Statue 

of  390. 
Villa  Mezzaratta  406. 

—  Revedin  405. 
SS.  Vitale  ed  Agricola 

400. 
Bolognano  22. 
Bolzano  20. 
Bolzaneto  53. 
Bonassola  115. 
Bondione  216. 
S.  Bonifacio  264. 


Bordighera  104. 
Horghetto  106. 

—  S.  Spirito  97. 

—  di  Vara  115. 
Borgo  S.  Agostino  169. 

—  S.  Dalinazzo  46. 

—  S.  Donnino  361. 

—  Lavezzaro  190. 

—  S.  Lorenzo  421. 
a  Mozzano  448. 

—  Panigale  407. 

—  Ticino  190. 

—  di  Valsugaua  21. 
Vercelli  66. 

—  Veve/.zi  97. 
Borgoforte  263. 
Borgofranco  55. 
Borgomanero  70. 
Borgone  2. 
Borgontiovo  114. 
Borgotaro  371. 
Borgunto  557. 
Borlezza  227. 
Bormida,  the  52. 

—  di  Millesinio  51. 
Bonnio  lS2. 
Borromean  Islands  199. 
Burselli  560. 
Borzoli  52. 
Borzonasca  114. 
Boscochie^aiiova  256. 
Boscolungo  408. 
Bossea,  Grotta  di  49. 
Botta  214. 
Bottarone  205. 
Botzen  20. 

Bone,  Vallone  del  63. 
Bourg-St-Maurice  60. 
Bonrget,  Lac  dn  1. 
Bousset  Valley  40. 
Boves  46. 
Bovisa  171. 

Biiyssonude,  Villa  1T7. 
Bozzolo  20J. 
Bra  50. 
Braccn  115. 

Brainapane,  Monte  118. 
Bianzi  215. 
Braus,  Col  di  48. 
Bre  14. 
— ,  Monte  14. 
Breglia  179. 
Breglio  48. 
Breitenstein  23. 
Brembana,  Val  213. 
Brombilla  214. 
Brenner  19. 
Brono  227. 
Brenno  187. 

Brenta,  the  278.279.280 
Brentonico  23S. 
Brescia  219. 
Brcscian  Alps,  the  225. 


Bressana  206. 
Breuil  56. 

Brianconnais,  the  45. 
Briania,  the  171. 
Brithcr:isio  44. 
Bricuno  175. 
Briga  4S. 
Briglia  407. 
Brigue  3. 
Briona  68. 
Brione,  Monte  238. 
Brisighella  421. 
Brissago  193. 
Brivio,  Val  187. 
Brixen  19. 
Brocan,  Lake  46. 
Broni  357. 
Brouis,  Col  di  48. 
Brozzi  441. 
Brnck  23. 
Brunate  169. 
Brunetta,  Castle  44. 
Brunncn  6. 
Bnisufilio  171. 
Brusimpiano  184. 
Brusin-Arsizlo  184. 
Buccione  70. 
Burano  344. 
Huronzo  65. 
Busalla  53. 
Bussana  99. 
Busseto  370. 
Bussoleno  2. 
Busto  Arsizio  5. 
Byron's  Grotto  118. 

Cademario  15. 
Cadenabbia  176. 
Cadenazzo  191. 
Cadeo  361. 
Caffaro,  the  229. 
Cagnola,  Villa  185. 
Cairate  105. 
Calci,  Valle  dci  437. 
Calcio  217. 
Calde  195. 
Caldi,  Bagni  449. 
Caldiero  261. 
Caldine,  Le  422. 
Culdiinazzo  21. 
Calliano  21. 
Callieri  47.' 
Calolzio  170. 
Calprino  13. 
Caluso  Canavese  54. 
Caniaiore  123. 
Camaldoli  561. 
Cambiasca  198. 
Camerlata  167. 
Camnago  167. 
Cainoghfe,  Monte  14. 
CaraoglJ  110. 
Camonica,  Val  227. 


574 


INDEX. 


Campaldino  562. 
Campiglia  65. 
CampigUo,  Colle  186. 
Campione  (Lago  di  Comu) 
23i. 

—  (Lago  di  Lugano)  1S4. 
Campo   (Lago  di    Como) 

175. 

—  de'  Fiori,  Mte.  1S6. 
Campodolcino  17. 
Campo  Formio  349. 
Campoligure  52. 

•  'amporciero,  Val  di  53. 
Camporgiano  371- 
Camposampiero  280. 
Canale  52. 
Candoglia  4. 
Canepa  109. 
Cannero  195. 
Cannobbina,  Val  194. 
Canaobio  194. 
Canobbio  14. 
Canossa  363. 
Cantalupo  53. 
Cantii  169. 

—  Asnago  167. 
Canzo  172. 
Caoddo  377. 
Caorle  351. 
Caorso  209. 
Capenardo,  Monte  115. 
Capo  di  Ponte  227. 
Capolago  15. 
Capraia  441. 
Caprasio,  Monte  3. 
Caprese  562. 
Capriasca,  Ponte  15. 
Caprino  (Monte  Baldo) 

236. 
— ,  Monte  13. 
Caraglio  46. 
Carasco  114. 
Carate  Lario  175. 
Caravaggio  217. 
Carcegna  70. 
Careggi  553. 
Careno  175. 
Carescione  169. 
Carignano  42. 
Carimate  167. 
Carisio  65. 
Carlotta,  Villa  176. 
Carmagnola  50. 
Carmelo,  Monte  97. 
Carmignano  279. 
Carnate  167. 
Carona  13. 

Caronella,  Passo  di  216. 
Carpenedo  269. 
Carpi  264. 
Carrara  120. 
Carrodano  115. 
Canigo  171. 


Casaccia  560. 

La  554. 
Casale  Monferrato  66. 
CasaleccMo     di    Reno 

407. 
Casalino  560. 
Casalmaggiore  218. 
Casalpusterlengo  358. 
Cas<arsa  348. 
Casarza  115. 
Casbeno  188. 
Casciago  186. 
Cascina  440. 
Casentino  Valley  560. 
Casima  16. 
Casino  Boario  227. 
Casletto-Rogeno  169. 
Ca.sola  363. 
Casorate  Sempione  5. 
Cassano  d'Adda  217. 

—  (Como)  169. 
Cassarate  13.  14. 
Castagnola  13. 

— ,  Pnnta  196. 
Castagnole-Lanze  50. 
Casteggio  357. 
Castel  Bolognese  409. 

—  S.  Giovanni  357. 

—  S.  Pietro  (Emilia)  403. 

(Val  Muggio)  16. 

Castelfranco    d'fimilia 

364. 

—  Veneto  279. 
Castelguelfo  361. 
Castellamonte  42. 
Castellana,   Mte.  di  118 
Castellarano  376. 
Castellarquato  361. 
Castelletto  di  Brenzone 

235. 
Castello  (Florence)  553. 

—  (Lugano)  183. 

— ,  Monte  (Lago  di  Garda) 

234. 
Castelluccliio  209. 
Castelmaggiore  378. 
Castelnuovo  d'Asti  51. 

—  di  Garfagnana  371. 

—  di  Magra  119. 

—  ne'  Monti  364. 

—  Scrivia  206. 

—  di  Verona  218. 
Casterino  48. 
Castiglione  Chiavarese 

115. 

—  d'Intelvi  175. 

—  Olona  188. 

—  dei  Pepoli  407. 
Castiglioni  554. 
Castione  8. 
Castro,  Sasao  di  407. 

S.  Caterina  del  Sasso  196. 
Cattaio,  Castle  377. 


Cava  Manara  205. 

Cavagnola  175. 

Cavagnolo  66. 

Cavaion  236. 

Cavalciotto,  II  407. 

Cavallermaggiore  45. 

Cavallina,  Val  216. 

Cavallino  13. 

Cavallone,  Plan  198. 

Cavandone  198. 

Cava  Tigozzi  206. 

Cavernago  213. 

Cavezzo  376. 

Cavi  114. 

Cave  Tassone,  Canal  378. 

Cavour  44. 

Ceceri,  Monte  557. 

Cedegolo  227. 

Ceggia  351. 

Celle  96. 

Cenate  216. 

Ceneda  348. 

Ceneri,  Monte  8. 

Cengio  51. 

Ceniga  210. 

Cenis,  Mont  2. 

Centallo  46. 

Cento  378. 

Cento  Croci.  Passo  di  115. 

Ceppina  181. 

Ceppino  163. 

Ceraino  22. 

Cercina  55i. 

Cerea  263. 

Cerea  43. 

Ceresio,  Lago  182. 

Ceresole  Eeale  43. 

Ceriale  97. 

Ceriana  103. 

Cernobbio  174. 

Cernnsco  170. 

Certenago  13. 

Certosa  di  Pavia  162. 

—  di  Pesio  49. 

—  di  Pisa  437. 

—  near  Bologna  406. 

—  di  Val  d'Kma  551. 
Cervara  111. 
Cervignano  352. 
Cervo  98. 

Cetica  560. 
Ceto  227. 
Ceva  50. 

Cballant,  Val  55. 
Chambave  56. 
Cbambery  1. 
Chamousset  2. 
Champ-de-Praz  55. 
Champlong  59. 
Cbamporcher  62. 
Chanton  60. 
Charvensod  58. 
Chatillon  56. 


INDEX. 


575 


Chavanis  62. 
Chesjgino  70. 
Cherasco  50. 
Chetif,  Mont  60. 
Chevrio  172. 
Chialamberto  4.3. 
CUiana,  Val  di  562. 
Chiapili  di  Scpra  59. 
Chiappa,  Punta  della  110. 
Chiarano  210. 
Chiaravalle  Milanese  162. 
—  (Emilia)  361. 
Chiari  217. 
Chiasso  16. 
Chiavari  113. 
Chiavenna  17. 
Chieri  51. 
Chindrieux  1. 
Chioggia  315. 
Chiomonte  2. 
Chiusaforte  24. 
Chiusi  562. 
Chivasso  66. 
Ciagore,  Monte  48. 
Ciamarella,  Monte  43. 
Ciamineias,  Monte  48. 
Ciliana,  the  558. 
Cima  183. 

Cimone,  Monte  403. 
Cinque  Terre  116. 
Ciona  13. 
Cirie  43. 
Cisa,  La  371. 
Cisano  236. 
Cittadella  279. 
Cittiglio  ISS. 
Civate  170. 
Civenna  172. 
Civiasco  71. 
Cividale  350. 
Cividate  227. 
Clapier,  Monte  46. 
Claro  8. 

Clavalite,  Val  56. 
Clenezzo  214. 
Clusone  215. 
Coassolo  Torinese  43. 
Coca,  Pizzo  di  216. 
Coccaglio  217. 
Codigoro  3S6. 
Codogpo  206. 
Codroipo  349. 
Cogne  61. 
— ,  Col  de  62. 
— ,  Val  de  61. 
Cogoleto  96. 
Coiano  407. 
Coldirodi  104. 
Colico  18. 
Colla  14. 

Colla  Plana,  the  49. 
Collagna  364. 
Collecchio  370. 


Collie  228. 

Colma,  Colle  della  71. 
Culmegna  194. 
Cologna  238. 
Cologna-Veneta  256. 
Coh.gnola  256. 
Colognole  440. 
Colombine,  Mte.  223. 
Colonnata  120. 
Colonno  175. 
Comabbio ,  Lake  of  185. 
Cumacchio  386. 
Cumacina,  Isola  175. 
Comano  14. 
Comboe,  Alp  58. 
Comero  198. 
Comerio  188. 
Como  167. 
— ,  Lake  of  173. 
Compiobbi  .558. 
Concordia  Sagitt;iria  352, 
Conegliano  348. 
Coni  46. 
Consuma  560. 
— ,  Mte.  560. 

—  Pass  560. 
Corbezzi  403. 
Corbignano  557. 
Corconio  70. 
Corenno  ISO. 
Corezzo  561. 
Cormanno  171. 
Cormons  351. 
Coma  227. 
Cornello  215. 
Corniglia  116. 
Cornigliano  94. 
Corno,  the  352. 

—  alle  Scale  408. 
Cornnda  347. 
Correggio  364. 
Corsalone,  the  561. 
Cortemaggiore  361. 
Cortenova  179. 
Cosio  180. 
Cossato  65. 
Cossila  65. 
Cossogno  198. 
Costermano  236. 
Cottian  Alps,  the  29. 
Conrmayeur  60. 
Coviglia"iu  407. 
Crammont  60. 
Credo,  Tunnel  du  1. 
Crema  217. 
Cremenaga  185. 
Cremia  179. 
Crennona  206. 
Crespano  280. 
Crespino  421. 
Cretaz  61. 

Crcton  63. 
Creva  185. 


Crissolo  44. 
S.  Cristoforo  21. 
S.  Croce  119. 
— ,  Capo  98. 

,  Cima  di  106. 
Crocicchio  408. 
Crocione,  Monte  177. 
Crusinallo  69. 
Crussol  44. 
Cueciago  167. 
Cugnasco  191. 
Culoz  1. 
Cunardo  187. 
Cnneo  46. 
Cunettone  228. 
Cuorgne  42. 
Cureggio  65. 
Casio,  Lago  69. 
Custozza  257. 
Cutigliano  408. 
Cuzzago  4. 

S.  Dalmazzo  di  Tenda  48. 

S.  Damiano  51. 

S.  DanieledelFriuli  351. 

Darzo  239. 

Davesco  14. 

Dt-gioz  63. 

Deiva  115. 

Delebio  180. 

Demonte  47. 

Dervio  179. 

Desenzano  230. 

Desio  167. 

biacceto  560. 

Diano  Castello  99. 

—  Marina  93. 
Diavolo,  Pizzo  del  216. 
Diemoz  56. 

S.Uionigio.Promont.  178. 
Dirinella,  the  189. 
Djouan,  Lago  di  63. 
Docce  Basse  449. 
Doccia  553. 

Dogna  24. 

Dolceaqua  lOG. 

Dole  278. 

Domaso  180. 

Domegliara  22. 

S.  Domenico    di  Fiesole 

554. 
Domodossola  4. 
S.  Dona  di  Piave  351. 
Dondenna  62. 
Dongo  180. 
Donnaz  55. 
Donnini  558. 
S.  Donnino  441. 
Dora  Baltea,  the  54.  57. 

—  Riparia  2.  29.  65. 

—  di  Valgrisanche  64. 
Dorio  180. 

Dos.sena  215. 


576 


INDEX. 


Dossi,  Grotta  dei  49. 
Dosso  Alto,  the  22S. 
Dossobuono  257. 
Dronero  46. 
Dubino  18. 
Dueville  269. 

Edolo  227. 

S.  Elena  377. 

Elio,  Lago  d'  194. 

S.  Ellero  55S. 

Elsa,  the  421. 

Emilia,  the  355. 

Emiliu9,  Mont  58. 

Empoli  440. 

Entraque  46. 

Entrelor,  Colle  d'  63. 

Epinel  61. 

Era,  the  440. 

Erba  172. 

Erstfeld  6. 

Escarene  48. 

Esino  179. 

— ,  Val  d'  178. 

Este  263. 

Euganean  Hills,  the  370. 

Exilles  2. 

Fabbriche  124. 

Faenza  420. 

Faeta,  Monte  437. 

Faido  7. 

Falterona,  Monte  5G0. 

Fantino  421. 

Fantiacritti  120. 

Fanzolo  280. 

Fara  66. 

Fasano  233. 

Fasce,  Monte  109. 

Favaro  63. 

S.  Fedele  d'Intelvi    175. 

Feldkirchen  24. 

S.  Felice  sul  Panaro  376. 

—  di  Scovolo  231. 
Felizzano  52. 
Feltre  347. 
Fenestrelle  44. 
Fdnis,  Castle  56. 
Feriolo  198. 
Ferrara  379. 

—  di  Monte  Baldo  239. 
Ferrato,  Monte  457. 
Fiei'naz  56. 

Fiesole  555. 
Fiesso  7. 
Figline  457. 
Filiberti  558. 
Finale  376. 

—  Marina  97. 

—  Pia  97. 

Finestra  di  Champorcher 

62. 
— ,  Colle  della  03. 


Finestre,  Colle  delle  46. 
Fiorenznola  361. 
Fiumalbo  376. 
Fiume  Latte  178. 
Fiumenero  216. 
Fivizzano  364. 
Florence  457. 

Accademia    di    Belle 
Arti  520. 
—  della  Crusca  519. 

S.  Ambrogio  509. 

SS.  Annunziata  510. 

Antiquities  462. 

Apartments  459. 

SS.  Apostoli  475. 

S.  Apollonia  525. 

ArchcBological  Museum 
511. 

Archives  498. 

Art  Exhibitions  462. 

Arte  della  Lana  476. 

Artists  462. 

Badia,  La  503. 

—  S.  Bartolomeo  552. 
Banca  d'ltalia  483. 
Bankers  462. 
Bargello  499. 

Baths  461. 
Battistero  477. 
Beer  459. 
Bellosguardo  552. 
BibliotecaLaurenziaua 
527. 

—  Marucelliana  518. 

—  Nazionale  498. 

—  Riccardiana  518. 
Bigallo  477. 

Boboli  Garden,  the  516. 
Booksellers  462. 
Borgo  degli  Albizzi  504. 

—  3.  Lorenzo  483. 

—  Ognissanti  535. 
Botan.  Garden  520. 
Brancacci  Chapel  537. 
Bridges  471. 

Cabs  460. 
Ca«8  460. 
Campanile  481. 
Canonry  481. 
Capitani    della    Parte 

Gnelfa,  Office  of  the 

475. 
Cappella  S.  Gaetano 

633. 

—  de'  Medici  517. 

—  de'  Pazzi  507. 

—  dei  Principi  527. 

—  de'  Rucellai  533. 

—  degli  Spagnuoli  531 
Carmine,  S.  Maria  del 

537. 
Casa  Buonarroti  508. 

—  Campigli  533. 


Florence  : 
Casa  Dante  477. 

—  Guidi  517. 
Cascine  552. 
Casino  di  Livia  524. 

—  di  S.  Marco  524. 

—  Mediceo  524. 
Cathedral  479. 

—  Museum  482. 
Cemetery  (Prot.)  516. 
Cenacolo    di   S.    Apol- 
lonia 525. 

—  di  Fuligno  529. 
Certosa  dl  Val  d'Kuia 

561. 
Chemists  461. 
Circulating  Libraries 

462. 
Clubs  463. 
Colonna  di  S.  Zanobi 

478. 
Confectioners  460. 
Consulates  461. 
S.  Croce  505. 
Dante's  Monument  505. 
DemidofTs  Mon.  548. 
S.  Egidio  483. 
Egyptian  Museum  513. 
English  Church  463. 
Environs  548. 
Etruscan  Museum  511. 

513. 
Farmacia  di    S.  Maria 

Novella  532. 
S.  Felice  547. 
S.  Felicita  538. 
Festivals  463. 
S.  Firenze  499. 
Fortezza  da  Basso  525. 

—  di  Belvedere  548. 

—  S.  Giov.  Batt.   525. 
Foundling    Hospital 

510. 
S.  Francesco  al  Monte 
549. 

—  de'  Vanchetoni  532. 
Galleria   degli   Arazzi 

516. 

—  Buonarroti  508. 

—  Corsini  534. 

—  Pitti  638. 

—  degli  Uffizi  48i. 
Gates  471. 
Ghetto  471. 
Giardino  de'  Semplici 

520. 
S.  Giovanni  Battisfa 

477. 
S.  Giovannino  degli 

Scolopi  517. 
Goods  Agents  462. 
Guildhouse     of    the 

Wool  Weavers  476. 


INDEX. 


577 


Flcirence : 
History  466. 

—  of  Art  469.    xlv   et 
seq.  1.  li.  Iviii  et  seq. 

Hospitals  461. 

Hotels  457. 

Honse   of  Bianca.  Ca- 

pello  536. 
Benvenuto  Cellini 

483. 

Dante  477. 

Galileo  548. 

Machiavelli  533. 

Michael    Angelo 

503. 
Indian  Jluseum  5~0. 
Istituto    della  SS.  An- 

nnnziata  5[0. 

—  della  Quiete  553. 

—  Storico   Artiitico 
46'2. 

—  di    Studi    Superiori 
520. 

S.  Jacopo  in  Canapo 
Corbolini  529. 

—  Soprarno  536. 

S.  Leonardo  in  Arcetri 

548. 
Literary  Office  462. 
Loggia  del  Grano  475. 

—  dei  Lanzi  474. 

—  di  S.  Paolo  5'j9. 
S.  Lorenzo  526. 

S.  Lucia  548. 
Lungarno  Corsini  534. 

—  Amer.  Vespncci535. 

—  Serristori  548. 
S.  Marco  518. 

S.  Margherita   a    Mon- 

tici  551. 
S.  Maria  degli  Angioli 

509. 

—  del  Carmine  537. 

—  del  Fiore  479. 

—  degli  Innocent!  510. 

—  Maddalena  de'  Pazzi 
516. 

—  Novella  529. 

—  Nuova  483. 
Marzocco,  the  474. 
Medici,  Monaments  of 

the  5'iS.  529. 
Mercato  Centrale  529. 

—  Isuovo  475. 

S.S.  Michele  e  Gaetano 

533. 
S.  Miniato  549. 
Misericordia  477. 
Money  Changer.?  462. 
Munte  Morello  .554. 

—  Oliveto  552. 
Mosaics,  Manufact.  of 

524. 

Baedekkr.   Italv  I. 


Florence : 

]     Museo   Archeologico 
511. 

—  di  S.  Croce  508. 

—  dei  Lavori  in  Pietre 
Dure  524. 

—  di  S.  Marco  518. 

—  di  S.  Maria  del  Fiore 
482. 

—  di   Storia  Naturale 
547. 

—  Nazionale  499. 
Newspapers  462. 
S.  Niccolo  548. 
Nurses  461. 
Ognissanti  535. 
Omnibuses  461. 
S.  Onofrio  529. 
Opera    del    iJuomo 

482. 
Or  S.  Michele  476. 
Oratorio  S.  Carlo  Bor- 

romeo  477. 

—  della  Misericordia 
477. 

Orti  Oricellari  532. 
Palazzo  Alberti  508. 

—  Albizzi  504. 

—  Alessandri  50L 

—  Altoviti  504. 

—  deir  AntcH.i  505. 

—  Antinori  533. 

—  Arcivescovile  480. 

—  Bartolini-Salimbeni 
534. 

—  Buturlin  5ij9. 

—  Cognacci  475. 

—  Canigiani  548. 

—  dei  Canonifi  481. 

—  Capponi  548. 

—  Corsi-Salviati  533. 

—  Corsini  531. 

—  della  Crocetla  511. 

—  Davanzati  476. 

—  Dufonr-Berte  537. 

—  Fenzi  474. 

—  Ferroni  534. 

—  Fiaschi  509. 

—  Fontebuoni  534. 

—  Ginori  618. 

—  Giugni  509. 

—  Gondi  499. 

—  Guadagni  537. 

—  Gtiicciardini  533. 

—  Larderel  533. 

—  Martelli  529. 

—  Masetti  53  i. 

—  Nencini  525. 

—  Nonfinito  501. 

—  Panciatichi  517. 
Ximenes  516. 

i     —  Pandolfini  525. 
'     —  Pazzi  504. 
13th  ■E'lit. 


Florence ; 
Palazzo  Pitti  538. 

—  del  Podesta  499. 

—  Pucci  509. 

—  Quaratesi  504. 

—  Riccardi  517. 
Mannelli  510. 

—  E,idolfi  532. 

—  Rinuccini  536. 

—  Eofselli    del   Turco 
475. 

—  Rucellai  533. 

—  Serristori  505. 

—  Spini  334. 

—  Stiozzi  532. 

—  Strozzi  5.32. 

—  Strozzino  .5.33. 

—  Tornabaoni  533. 

—  Torrigiani  547. 

—  degli  Uffizi  483. 

—  XJguccioni  474. 

—  Vecchio  472. 
S.  Pancrazio  533. 
Pensions  458. 
Physicians  461. 
Photographs  462. 
Piazza  dell'Annunziata 

509. 

—  d'Azeglio  509. 

—  Beccaria  557. 

—  S.  Croce  505. 

—  del  Duomo  477. 

—  S.  Firenze  499. 

—  S.  Lorenzo  525. 

—  Madonna  527. 

—  Manin  535. 

—  S.  Marco  518. 

—  di  S.  Maria  Novella 
529. 

Nuova  483. 

—  del    Ponte    Carraia 
535. 

—  della  Signoria  472. 

—  S.  Trinita  533. 

—  Vitt.  Emanueh!  532 

—  degli  Zuavi  535. 
Piazzale  Galileo  549. 

—  Michelangelo  5i9. 

—  del  Re  ^52. 
Poggio  a  Caiano  553. 

—  Imperiale  550. 
Ponte  alia  Carraia  472. 

—  alle  Grazie  471. 

—  Rubaconte  471. 

—  S.  Trinita  536.  472. 

—  Vecchio  537.  471. 
Portico  degli  Uffiri  483. 
Post  Office  461. 
Private  Lodgings  459. 
Prot.  Cemetery  516. 
Railway  Stations   4.57. 
Rajah    of    Holapore, 

Monum.  of  552. 

,^7 


578 


INDEX. 


Florence: 
Reading  Rooms  46'i. 
Eestaurants  459 
Sagrestia  Nuova  52S. 
S.    Salvadore    d'Ognis- 

santi  535. 
S.  Salvatore  479. 

—  al  Monte  549. 
S.  Salvi  557. 
Sasso  di  Dante  482. 
Scalzo,  Chiostro  dello 

524. 
Servi  di  S.  Maria  510. 
Shops  461. 
Silver  Chamber  545. 
S.  Simonc  501. 
Societa      delle     Belle 

Arti  462. 
Spagnuoli,  Capp.  deglj 

531. 
Spedal  e  degli  Innocenti 

510. 

—  di   S.  Maria  Naova 
483 

S.  Spirito  536. 
Stables,  Royal  547. 
Statue  of  Abbondanza 
536. 

—  of  Cellini  538. 

—  of  Cosimo  I.  474. 

—  of  Demidoff  548. 

—  of  Gen.  Fanti  518. 

—  of  Ferdinand  I. 
510. 

—  of  Garibaldi  535. 

—  of  Giovanni     delle 
Bande  iJere  526. 

—  of  Goldoni  535. 

—  of  Manin  535. 

—  of  Peruzzi  6'25. 

—  of  Ricasoli  625 

—  of  Victor  Emanue 
II.  532. 

S.  Stefano  475. 

—  in  Pane  553 
Synagogue  509. 
Teachers  462. 
Telegraph  Office  461 
Theatres  463. 
Torre  al  Gallo  550. 

—  dei  Girolami  475. 
Tourist  Office  462. 
Tramways  460. 
Tribuna  del  Galileo547. 
S.  Trinita  533. 
Uffizi,   Galleria    degli 

484. 
Via  de'  Bardi  548. 

—  Cavour  517 

—  dei  Calzaioli  476. 

—  Cerretani  525 
—  de'  Fossi  535. 

—  de'  Gondi  499. 


Florence:  iFramura  115. 

Via   de'   Gnicciardini    S.    Francesco    d'Albaro 

533.  I     93. 

—  Lungo   il   Mugnone  Franzensfeste  19. 


525. 

—  Maggio  536. 

—  de'  Martelli  483. 

—  Por  S.  Maria  475. 

—  del  Proconsolo  483 

—  Ricasoli  483. 

—  dei  Servi  509. 

—  Tornabnoni  533. 
Viale   dei    Colli    548. 

—  Galileo  549. 

—  MacUiavelli  549. 

—  Michelangelo  549. 
Villa  Bellosguardo  552. 

—  delle  Bugie  551. 

—  Castello  553. 

—  Corsi  554. 

—  Dante  554. 

—  of  Galileo  551. 

—  Gherardo  554. 

—  Laiidor  555. 

—  Mac  Calmont  555 

—  Medicea  .553. 

—  Morrocchi  528. 

—  deir  Ombrellino 
552. 

—  Palmieri  554. 

—  Petraia  553. 

—  Poggio  Imperiale 
550. 

—  Quarto  553. 

—  Rngg  554. 
Wines  459. 

S.  Floriano  236. 
Fliielen  6. 
Foce,  La  115. 

—  di  Carpinelli  371. 

—  di  M.isceta  124. 

—  delle  Radici  376. 
Focolaccia,  Passo    della 

123. 
Foggia,  Val  di  113. 
Fogliaro  186. 
Fondo  Toce  5. 
Fontana  48. 

—  Fredda  361. 
Fontanalba  Valley  4S 
Fontanellato  370. 
Forato,  Monte  124. 
Forciat,  Mont  63. 
Formigine  37G. 
Fornet  63. 
Forno  123. 

—  Alpi  Graie  43. 
Fornoli  449. 
Fornivo  di  Taro  370. 
Fo.sdinovo  364. 
Fossalta  352. 
Fossano  46. 
Frabosa  Soprana  49. 


Frassinoro  376. 
Frauenburg  23. 
Frerone,  Monte  227. 
Friesach  23. 
Frudiera,  Piinta  55. 

Fruttuoso  ill. 
Fagazza,  Piano  della 

269 
Fuipiano  214. 
Furva,  Val  182. 
Fusina  278. 
Futa,  Pa'.'so  della  407. 

Gaby  55. 
Gaino  233. 
Galbiate  170. 
Galbiga,  Monte  177. 
Gallarate  5. 
Galliera  378. 
Gallinaria  98. 
Galluzzo  551. 
Gandria  183. 
Ganna  187. 
Garda  235. 
— ,  Isola  di  231. 
— ,  Lake  of  229. 
Gardola  234. 
Gardone-Riviera  232. 
—  Valtrompia  228. 
Garessio  50. 
Gargnano  234. 
Garlate,  Lago  di  170. 
Garza,  Val  229. 
Garzirola,  Mte.  14. 
Gattiiiara  65. 
Gaudarena,  Gola  di  48. 
Gavardo  228. 
Gavinana  408. 
Gavirate  188. 
Gazzada  185. 
Gazzaniga  215. 
Gelaomino  550. 
Gemona  24. 
Gemonio  188. 
Generoso,  Monte  16. 
S.  Gene.sio  66. 
Genoa  75. 

Accademia   di  Belle 
Arti  8i. 

Acquasola  91. 

Albergo  dei  Poveri  93. 

S.  Ambrogio  84. 

SS.  Annunziata  88. 

Banca  di  S.  Giorgio  79. 

Barracks  79. 

Baths  77. 

Begato,  Forte  79. 

Biblioteca  Civica  85 

Borsa  82. 


INDEX. 


579 


Genoa : 

Botanical  Garden  89. 
Campo  Santo  94. 
S.  Carlo  89. 
Castellaccio  93. 
Castillo  deAlberti3  93 
Cimitero   di   Staglieno 

91. 
Columbus,  House  of  83. 
Consulates  73. 
Corso  And.  Podeata  91. 
SS.  Cosma  e  Damiano 

82. 
Darsena  81. 
Docks  81. 
Dog.'ina  81. 
S.  Donato  83. 
English  Churches  78. 
Exchange  82. 
Fortifications  79. 
Galleria  Mazzini  91. 
Gigante,  U  9J. 
S.  Giorgio  82. 
S.  Giovanni  Battista  80 
Granarolo  91. 
Harbour  80. 
History  79. 

—  of  Art  80. 
Lighthouse  91. 
Loggia  de'  Banchi  82 
S.  Lorenzo  83 
Magazzini    della    Dar 

sena  81. 
S.  Maria  di  Carignano 
92. 

—  di  Castello  82. 

—  Immacolata  93. 

—  delle  Vigne  82. 
S.  Matteo  85. 
Moles  80. 

Museo  Chiossone  85. 
S.  Nicolo  93. 
Palazzo  Adorno  86. 

—  Balbi  88. 
Senarega  89. 

—  Bianco  87. 

—  Brignole-Sale   De 
ferrarl  86.  87. 

—  Cambiaso  8'j. 

—  della  Casa  85. 

—  Cataldi  86. 

—  Cattaneo  82. 
della  Volta  88. 

—  Centurione  81. 

—  Deferrari  81. 

—  Doria  90. 

(Giorgio)  86 

Tural  86. 

—  Ducalc  84. 

—  Durazzo-Pallavicini 
88 

—  Gambaro  86. 

—  di  S.  Giorgio  81. 


Palazzo  Imperiali  83. 

—  Municipale  83. 

—  Pallavicini  85. 
(Lod.  Stef.)  85 

—  Parodi  83. 

—  Eeale  89. 

—  Rosazza  91. 

—  Rosso  86. 

—  della  Scala  88 

—  Serra  86. 

—  Spinola     (Comnaer- 
cial  School)  86. 

(Prefettura)  91. 

—  dell'  Universita  89. 
Physicians  78. 
Piazza  Acquaverde  90. 
Piazza  deir  Annun- 

ziata  88. 

—  Banchi  82. 

—  Caricamento  81. 

—  Cattaneo  82. 

—  Corvetto  91. 

—  Deferrari  84. 

—  Fontane  Marose  85. 

—  Fossatello  81. 

—  S.  Giorgio  82. 

—  Manin  93. 

—  del  Principe  90. 

—  Umbertol  8i. 
Picture  Galleries  86. 

87.  88.  89.  90. 
S.  Pietro  de'  Banchi  82. 
Ponte  Carignano  92 

—  Federico  Guglielmo 
81. 

—  Monumentale  85.  92. 

—  Pilii  85. 

PorlaS.  Bartolomeo94 

—  del  Molo  81. 

—  Soprana  83 

—  dei  Vacca  81. 
Porto  Franco  81. 
Post  Office  77. 
Prefettura  91. 
Rail.  Stations  75. 
S.  Siro  82. 

Sperone,  Forte  dello79. 
Spianata  Castelletto 

93. 
Statue  of  Gen.  Bixio92 

—  of  Columbu.'i  90. 

—  of  Galliera  90. 

—  of  Garibaldi  84. 

—  of  Mazzini  91. 

—  ofVictor Emmanuel 
91. 

—  of  Rubattino  81. 
S.  Stefano  92. 
Theatres  77.  81. 
S.  Torpete  82. 
Torre  Embriaci  S3. 
Universitv  89. 


Genoa: 

Via  Balbi  88. 

—  Cairoli  88. 

—  Carlo  Alberto  81. 

—  di  Circonvallazione 
a  Mare  93. 

a  Monte  93. 

—  Corsica  92. 

—  Garibaldi  85. 

—  S.  Giovanni  80. 

—  S.  Lorenzo  83. 

—  Orefici  82. 

—  Roma  91. 

—  Venti  Settembre85. 

—  Vitt.  Emanuele  81. 
Vico  dei  Notari  84. 
Villetta  Dinegro  91. 

Gentilino  12. 

Gera  (Lago  di  Como)  180. 

—  (Lago   Maggiore)    193. 
Gerenzano  187. 
Germanello  175. 

S.  Germano  44. 
Germignaga  195. 
Gesso,  Valle  del  46. 
Ghiffa  195. 
Ghirla  187. 

Giacomelli,  Villa  279. 
S.   Giacomo   (near  Chia- 
venna)  17. 

—  (near  Mori)  238. 

—  (near  Sondrio)  181. 
Giandola,  La  48. 
Giardino,  Alpe  200. 
Giazza  26G. 

Gibbio,  M  inte  376. 

Giomeiu  56. 

S.  Giorgio,  Monte  184. 

—  di  Mogaro  352. 

—  di  Piano  378. 

—  (near  Verona)  536. 
Giornico  8. 

S.  Giovanni,  Isola  196. 

—  (near  Lucca)  449. 

—  (Lake  of  Como)  175. 

—  Bianco  214. 

—  Manzano  351. 

— ,  Santuario  di  65. 

Giovi  562. 

— ,  Monte  421. 

S.  Girolamo  170. 

Giubiasco  8. 

Giugo,  Monte  109. 

Ginlia,  Villa  177. 

S.  Giuliano  357. 

— ,  Bagni  di  441. 

— ,  Monte  441. 

S.  Giulio,  Isola  69. 

S.  Giuseppe,  Lago  di  54. 

—  di  Cairo  51. 
Giussano  171. 
Glandorf  24. 
Gleno,  Monte  216 

37* 


580 


INDEX. 


Gceschenen  7. 
Gollien,  Cima  di  63. 
iTombo  437. 
Gunfolina,  the  441. 
Gonzaga  264. 
Gordola  191. 
Gordona  18. 
Gorgonzola  166. 
Gorizia  351. 
Gorlago  216. 
Gorz  351. 

Gorzone  Canal,  the  377. 
Gossensass  19. 
Gottero,  Monte  371. 
St.  Gotthard  Tunnel  7. 

—  Railway  6. 
Gozzano  70. 
Gradisca  351. 
Grado  353. 
Graglia  65. 
Graian  Alps  29.  60. 
Granara  52. 
Granarolo  91. 
Grandate  165. 
Grand  Cron,  Colle  61. 
Grandola  182. 

Gran  Paradiao  (i3. 
Grand   St.  Pierre,  Tour 

du  62. 
Grasstein  19. 
Gratz  23. 

Grauson,  Vallone  di  61 
Gravedona  180. 
Gravellona  69. 
Grazie,  Le  118. 
Gressoney-St-Jean  55. 

—  la-Trinite  55. 
— .  Val  55. 
Grezzana  25. 
Griante  177. 
Gries  (Botzen)  20. 
Grigna,  Monte  179. 
Grigno  21. 
Grisanche,  Val  G4. 
Grivola  61. 
Gromo  216. 
Grondola  371. 
G'roppoli  454. 
Groscavallo  43. 
Grosio  181. 
Grosotto  181. 

Grotta    del  Bulgaro  175 
— ,  Alpe  della  124. 
Grumello  217. 
Guadine  123. 
Gualdo  554. 
Guardia,    Monte   della 

406. 
Guastalla  263. 
Guglielmo,  Monte  227. 
Guidizzolo  2.5. 
Guinadi  371. 
Gurtnellen  7. 


Herbetet,  Col  de  Y  63. 
Hone-Bard  55. 

lavello,  Monte  di  457. 
Idro  229. 

,  Lago  d'  229. 
S.  Ilario  362. 
lUasi  256. 
Imola  409. 
Incanale  22. 
Incino  172. 
Induno-Olona  1S7. 
Inferno,  Valle  delP  -JS. 
Innsbruck  19. 
Intelvi  Vallev  175. 
Intra  196. 
Introbio  179. 
Introd  63. 

Itiverguau,  Becca  dell'  6'i 
Invergneux,  Passo  d'  61. 
Inverigo  172. 
Ischiator,  Becco  d'  47. 
Iselle  di  Trasquera  4. 
Iseo  226. 
— ,  Lago  d'  225. 
Isera  22. 
Isola  Bella  199. 
Isolaboua  106. 
Isola  del  Cantone  53. 
Isonzo,  the  351. 
Ispra  189. 
Is.-ime  55. 
Issogne  53. 
Ivrea  54. 

3.  Jorio,  Passo  180. 
Judenburg  23. 

Karawanken,  the  24. 
Karst,  the  351. 
Rlamm  23. 
Klauaen  19. 

Lagarina,  Val  21. 
Lauaro  407. 
Laghel,  Lake  240. 
Laglio  175. 
Lago  Maggiore  190. 

—  Santo  408. 

— ,  Villa  del  559. 
taigueglia  98. 
Lambrugo  172. 
Lanione  8. 
Langhirano  370. 
Lanzo  d'Intelvi  J 83. 

—  Torinese  43. 
Lario,  Lake  173. 
Laanigo  172. 
Laste,  Cima  21. 
Lastra  441. 
Latisana  352. 
Launsdorf  24. 
Lauzon,  Colle  62. 


Lavagna  114. 
Lavena  184. 
Laveno  195. 
Lavenone  229. 
Lavezzola  386. 
Lavina,  Punta  62. 
Lavino,  Monte  283. 
Lavone  298. 
■Lavorgo  8. 
iLazise  236. 

S.  Lazzaro  (Piacenza)  361. 
I —  (Venice)  344. 
ILecco  170. 
'— ,  Lake  of  178. 
Ledro,  Val  di  239. 
Leggiuno  189. 
Leghorn  437. 
Legnago  257. 
Legnano  5. 

Legnoncino,  Mte.  180. 
Legnone,  Mte.  180. 
Lema,  Monfe  15. 
Lemene,  the  352. 
Leniie  43. 
Lenna  215. 
Lenno  175. 
Leoben  23. 
Lerici  118. 
Lerino  269. 
Lesa  201. 

Lesignano  di  Palinia371. 
Lessini,  Monti  256. 
Levanna,  Monte  43. 
Levanto  116. 
Leventina,  Valle  7. 
Levico  21. 
Leviona  63. 
Levo  200. 
Lezzeno  175. 
Libro  Aperto  408. 
Lierna  178. 
Ligornetto  16. 
Lignria  73. 

Ligurian  Alps,  the  50. 
Limone  (Lake  of  Garda) 
234 

—  (Col  di  Tenda)  47. 
Limonta  178. 
Lissone  167. 
Liverogne  59. 
Livorno  Verccllese  66. 

—  (Tuscany)  438. 
Lizzana  22. 
Loano  97. 
Locana  42. 
Locarno  191. 
Lodi  358. 
Lodrone  239. 
Loiano  407. 
Lombardy  125. 
Lonate  165. 
Lonato  218. 
Longarone  348. 


INDEX. 


581 


Lonigo  264. 
Lonnano  561. 
Loppio  22. 
S.  Lorenzo  99. 
Loreto,  Islet  226. 
Losone  193. 
Loveno  178. 
LovSre  226. 
Lucca  442. 
— ,  Bagni  di  448. 
Lucchio  449. 
Lucerne  6. 
— ,  Lake  of  6. 
S.    Lucia   (near  Borniio) 
181. 

—  (Emilia)  407. 
Lugano  9. 

— ,  Lake  of  182. 
Lugliano  449. 
Lugo  409. 
Luino  194. 
Lune,  Le  554. 
Lungavilla  205. 
Luni  119. 
Lunigiana,  La  119- 
Lurago  172. 
Lurate-Caccivio  170. 
Luscharibevg,  the  24. 
Luseney,  Btcca  di  55. 
Luserna  44. 
Luvinate  186. 
Lys,  the  55. 

Maccagno  194. 
Jlaccaranij  Casa  IIS. 
Maceglia  4'-'8. 
Macioli  657. 
Macugnaga  69. 
Maderno  234. 
Madesimo  17. 
Madonna  della  Bocciola 
70. 

—  di  Campagna  256. 

—  di  Caravaggio  110. 

—  della  Corona  239. 

—  della  Guardia  (near 
San  Remo)  103. 

—  di  S.  Luca  406. 

—  di  S.  Martino  177. 

—  di  Montallegro  113. 

—  del    Monte    (near 
Varese)  186. 

(near  Vicenza)  263. 

(near  Ivrea)  54. 

—  della  Neve  228. 

—  della  Rocca  347. 

—  del  Sas.io  (Lago  Mag- 
giore)  192. 

(Orta)  70. 

—  di  Tirano  181. 

—  dei  Tre  Fiumi  421. 
Madre,  IsSla  199. 
Madrona,  Monti  174. 


Magadino  193. 
Magenta  68. 
Maggia,  the  192.  193. 
Maggianico  170. 
Maggiore,  Lago  190. 
— ,  Monte  239. 
Magliasina,  Val  15. 
Magnadole  352. 
Magcavacca  336. 
Magreglio  172. 
Maiano  557. 
Maiijri,  Monte  408. 
Mala,  Via  17.  _ 
Malamocco  345. 
Malborghet  24. 
Malcesine  235. 
Malcontenta  278. 
Malenco,  Val  181. 
Malgrate  171. 
Malnate  188. 
Malo  269. 
Malonno  227. 
Malpasa,  Chat,  of  213 
S.  Mamette  183. 
Manarola  116. 
Mandello  178. 
Manerba  231. 
Maniva,  CoUe  228. 
Mantna  257. 
Maranello  269. 
Marano  376. 
Marcaria  209. 
St.  Marcel  56. 
— ,  Col  de  62. 
S.  Marcello  408. 
Marco  22. 
Marengo  53. 
Margareis,  Ciina  48. 
S.  Margherita  110. 
Margorabbia,  the   187. 
Margozzolo,  Mte.  201. 
S.   Maria,    Chapel   (near 
Lngano)  15. 

—  del  Soccorso  176 

—  del  Taro  114. 
Marignano  357. 
Maritime  Alps,  the  73. 
JIarlia,  Villa  448. 
Maroggia  15. 
Mavona,  Pi/.zo  198. 
Marone  226. 
Marradi  421. 

S.  Martin- Ve'subie  46. 
S.  Martino  (Lake  of  Lu 
gano)  12. 

—  della  Battaglia  218. 

—  (near  Verona)  264. 
— ,  Promontory  183. 
— ,  Sasso  177. 
Marzabotto  407. 

S.  Marzanotto-Rivi  52. 
Maser  279. 
Masino  181. 


Massa  121. 
Massaciuccoli,    Lago    di 

123. 
Massalombarda  409. 
Masaarosa  123. 
Mastallone,  tlie  71. 
Masuccio,  Monte  181. 
Matanna,  Monte  124. 
Matrei  19. 
Mattarelio  21. 
Matto,  Monte  46. 
S.  Manrizio  169. 
Mazzo  181. 
Meana  2. 
Meda  171. 
Medole  225. 
Meina  201. 
Mele  52. 

Capo  93. 
Melegnano  35T. 
ilelide  15. 
Meloncello  406. 
Melze,  Pian  45. 
Melzi,  Villa  177. 
Melzo  217. 
Menaggio  173. 
Mendrisio  16. 
Meran  20. 
Merate  170. 
Meraviglie,  the  48. 
Mercatale  407. 
Mergozzo,   Lago  di  4. 
Merone  172. 
Mesocco,  Val  8. 
Mesoncles,  Col  63. 
Mestre  269. 
Mezzegra  176. 
Mezzo,  Lago  di  257. 
Mezzola,  Lago  di  18. 
Mezzolago  239. 
Miasino  201. 
Miazzina  198. 
St.  Michael  23. 
.St.MicheldeManrienne2. 
S.  Michele  (Trent)  20. 

—  (Ventimiglia)  48. 

—  (near  Verona)  256. 

—  di  Pagana  112. 

—  del  Quarto  351. 
— ,  Sagra  di  3. 
Migliana  457. 
Migliarino  123. 
Mignanego  5'3. 
Milan  128. 

S.  Alessandro  158. 
S.    Ambrogio    155. 
Ambrosiana  151. 
S.  Aquilino,   Cappella 

di  157. 
Archaeolog.  Museum 

147. 
Archiepiscopal  Palace 
1        136. 


582 


INDEX. 


Milan : 

Archiepiscopal  Semin- 
ary 160. 

Archives  137. 

Arco  della  Pace  151. 

Arena  151. 

Art  Exhibition  131. 

S.  Babila  159. 

Bastii'ni  di  Porta  Ve 
nezia  161. 

BibliotecaAmbrosiana 
151. 

—  di  Brera  139. 
Brera  139. 

S.  Carlo  Borromeo  159. 
Casa  Bazzero  153. 

—  di  Riposo  lici  Mu- 
si cisti  156. 

—  Font&na  (Silvestri) 
160. 

—  Taverna  (or  Ponti) 
138. 

Casino  de'  Nobili  139. 
CassadiRi9parmiol39. 
Castello  SforzeEco  147. 
Cathedral  134. 
S.  Celso  15S. 
Cemeteries  161. 
Chiesa   del  Monastero 

Blaggiore  153. 
Coins,  Collect,  of  139. 
Collegiodei  Nobili  146 
Colonnade  156. 
Conservatory  of  Music 

160. 
Consulates  131. 
Corso  S.  Celso  157. 

—  al  Cimitero  di  Mu- 
socco  161. 

—  Magenta  153. 

—  di  Porta  Eomana 
158. 

Ticinese  156. 

—  del  Sempiono  161. 

—  Venezia  159- 

—  Vittorio  Eman.  159. 
Engl.  Church  131. 

S.  Enfemia  158. 
S.  Eustorgio  157. 
Exchange  146. 
Exhibition  Buildings 

151. 
S.  Fedele  137. 
Galleria  d'ArfeModerna 

150. 

—  de'  Cristoforis  159. 

—  Vitt.  Emanuele  136 
aiardini  Pubblici  161 
S.   Giorgio    al  Palazzo 

156. 
S.  Gottardo  136. 
History  132. 

—  of  Art  133. 


Milan: 

Istituto  Tecnico  139. 
Leonardo's  Las  t  Supper 

154. 
Loggia  degli  Osii   1A6 
S.  Lorenzo  156. 
S.  Marco  145. 
S.  Maria   del  Carmine 

146. 

—  presso  S.  Celso  157 

—  delle  Grazie  154. 

—  Incoronata  146. 

—  della  Passione  159 
S.  Maurizio  153. 
Monastero     Maggiore 

153. 
Montagnola  151. 
Montcmeilo  161. 
Municipio  137. 
Museo  Archeologico 

147. 

—  Artistico  149. 

—  Civico  160. 

—  Numismatico  150. 

—  Poldi  Pczzoli  137. 

—  del  Risorgimento 
Kazionale  150. 

S.  Nazaro  158. 
Nuovo  Parco  151. 
Observatory  139. 
Orphanage  160. 
Ospedale  Maggiore  15S 
Palazzo    Arcivescovile 
136. 

—  Bagatti-Valsecchi 
138. 

—  Belgioioso  137. 

—  Borromeo  153. 

—  di  Brera  139. 

—  del  Censo  137. 

—  Ciani  160. 

—  Clerici  146. 

—  Crospi  145. 

—  del  Giureconsulti 
146. 

—  di  Giustizia  159. 

—  Gonzaga  155. 

—  Litta  153. 

—  Marino  137. 

—  Melzi  161. 

—  della  Bagione   146. 

—  Reale  136. 

—  Saporiti  160. 

—  di  Scienze,    Lettert 
ed  Arti  139. 

—  del  Senato  160. 

—  Serbelloni  160. 

—  Trivulzio  158. 
S.  Paolo  153. 
Park  151. 

Piazza  S.  Ambrogio 
155. 

—  Cavoiir  138. 


Milan : 
Piazza  Cordusio  146. 

—  del  Duomo  134. 

—  S.  Eufemia  158. 

—  de'  Mercanti  146. 

—  della  Scala  137. 

—  S.  Stcfano  159. 
Picture   Galleries    139. 

145.  150.  152.  153. 
S.   Pietro  in  Ges.sate 

160. 
Pinacoteca  139. 
Porta  Lodovica  157. 

—  Sempione  151. 

—  Ticinese  157. 

—  Princ.  Umberto  139. 

—  Volta  161. 
Post  Office  130. 
Railv?ay  Stations  128. 

139. 
Raphael's  Sposalizio 

144. 
Botonda  159. 
S.  Satiro  156. 
Seminary,   Archiepisc. 

160. 
S.  Sepolcro  152. 
S.  Simpliciano  145. 
Societa    per    le    Belle 

Arti  138. 
Statue  of  Beccaria  139. 

159. 

—  ofBertano  139. 

—  of  Brioschi  139. 

—  of  Carlo  Porta  161. 

—  of  Cattaneo  137. 

—  of  Cavour  138. 

—  of  Dezza  160. 

—  of  Garibaldi  146. 

—  of  Leon,  da  Vinci 
1S7. 

—  of  Manara  161. 

—  of  Manzoni  137. 

—  of  Medici  160. 

—  of  Napoleon  I.  139. 

—  of  Napoleon  III.  leO. 

—  of  Parini  146. 

—  of  Porta  161. 

—  of  Rosmini  161. 

—  of  Sirtori  161. 

—  of  Stoppani  161. 

—  of  Victor    Emma- 
nuel II.  136. 

S.  Stefano  159. 
Synagogue  159. 
Teatro   alia  Scala  130. 

137.  a>  -' 

Telegraph  Office  130. 
Tempio  di  Cremazione 

161. 
Theatres  130. 
Torre  Stigler  151. 
Tramways  130. 


INDEX. 


583 


Milan:  Montefiorino  3T6.  j 

Via  Carlo  Alberto  136.|Monteforte  264. 

—  Dante  116.  ;Montegrotto  377. 

—  Ginseppe  VerJi  139.  Miintelungo  371. 

—  Al.  Manzoni  138.      jMontelupo  441. 

—  degli  Omenoni  137.  Montemagno  (PieJm<"  nt) 

—  Torino  156.  I     53. 

Villa  Reale  161.  ]—  (Tnscany)  123. 

S.  Vittore  155.  jMontemurlo,    castle  455. 

Mincio,  the  209.  536.        .Montenero  439. 
S.  Miniate  alTedesco  440.  Monte  Oliveto,   Convent 
Mira  Taglio  278.  |     44. 

Mirandola  (Bologna)  408.;Montepiano  407. 


(Modena)  376. 
Mittewald  19. 
Modane  2. 
Modena  372. 
Moggio  24. 
Moggiona  5C0. 
Mogliano  345. 
Molgora  170. 
Molina  239. 
— ,  Le  554. 
JtoUia  72. 
Moltrasio  175. 
Momliaruzzo  52. 
Momo  70. 
Monarca,  Mte.  187. 
Moncalieri  42. 
Moncurv^,  Glac.  de 
Mondadizza  181. 
Mondovi  49. 


G3. 


Jlonterosso  116. 
JMontesanto  3S6. 
jMontevecchia  170. 
'Montevettolini  450. 
Monticello  167. 
JMontignoso  121. 
JMontjovet  £6. 
;Montmajeur,  castle  64. 
JMontm^lian  2. 
|Moni'  Orfano,  the  4. 
Montorfano  169. 
iMontorsoli  421. 
Monvalle  189. 
Monza  165. 
Morbegno  180. 
Morcote  J  84. 
Morello  554. 
— ,  Monte  421. 
'Morgex  59. 


554. 


Mondrone,  Gorgia  di  48.  Morgnaga  233. 


Moneglia  115 
Money,  Le  61. 
— ,  Colle  62. 
Monfalcone  851. 
Monferrato  66. 
Monfestino  376. 
Mongardino  52. 
Monghidoro  407. 
Mongioie,  the  50. 
Mongrando  65. 
Monselice  377. 
Monsummano  450. 
Montacato  551. 
Montagnana  263. 
Ml  ntapnola  13. 
Mont;ilbano  13. 
Montale  464. 
Montalto  Dura  55. 
Montasio,  the  24. 
Monte  It;, 
Montebello     (Piedmont) 

205. 
—  (near  Vicenza)  265. 
Montebelluna  347. 
Mont;  carlo  449. 
Mr  ntecat!ni,Bagni  di  449. 
Montecchio  Maggiore269. 

370. 
Monte  Ferrato  457. 
Montefiore  371. 


Mori  22. 

Moriano  448. 

Morignone,  Scrra  di  ISl. 

Mortara  ISO. 

Motta  di  Livenza  348. 

Mottarone,  Monte  201. 

Mugello,  the  421. 

Mnggio  167. 

— ,  Val  di  16. 

Mngnone,  the  421.  554. 

Muralto  192. 

Murano  343. 

Musocco  5. 

Musao  179. 

}tInzzano,  Lake  of  184. 

Muzzerone,  Monte  118. 

Mylius,  Villa  178. 

Nabresina  351. 

Nago  22. 

Nava,  Grotto  of  50. 

Navacchio  440. 

Navene,  Eocca  di  238. 

Naviglio  Grande  68.  228. 

Kegrar  236. 

Nero,  Capo  103. 

— ,  Lago  63. 

Nerone,  Bagni  di  123. 

Nervi  107. 

Nervia  Valley  106. 


Nesso  175. 
Neumarkt  20. 
S.  Nicolo  (Piac.)  357. 
—  (Caaentino)  560. 
S.  Nicolao  15. 
Nievole,  the  449. 
Kigulia  Canal  69. 
Nivolet,  Col  de  59. 
Nizza  Monferrato  52. 
Noasca  42. 
Noli  97. 

Non,  Val  di  20. 
Nona,  Eecca  di  58. 
Nonva,  Alp  63. 
— ,  Colle  della  62. 
Noviiggio  15. 
Novara  67. 
Novate  18. 
Novellara  3G4. 
Novi  Lignre  53. 
Nozza  229. 
Nozzano  123. 
Nudo,  Monte  196. 
Nns  56. 

Occhieppo  65. 
Oggebbio  195. 
Oggiogno  195. 
Oggiono  170. 
Ogna  215. 
Oleic  178. 
Oleggio  190. 
Okn,  Colle  d'  72. 
Olgiasca  180. 
Olgiate  170. 
Olginate,  Lago  d'  1"0. 
Oliveto,  Monte  552. 
Olivo,  Isola  deir  235. 
Olmeneta  217. 
Olona,  the  188 
Oltresarca  22. 
Ombrone,  the  408.   441. 

450. 
Omegna  69. 
S.  Omobono  213. 
Omomorto  560. 
Oneglia  99. 
Onno  178. 
Oreo,  Val  d'  59. 
Orel,  Bee  d'  46. 
Orfano,  Monf  217. 
Oria  183. 
Ormea  50. 
Ornavasso  69. 
Oronco  1S6. 
Oropa  65. 

— ,  Madonna  d'  65. 
Orrido  194. 
Orsaro,  Monte  371. 
Orselina  193. 
Orsina,  Plan  d'   124. 
lOrta  69. 
!— ,  Lago  d-  m. 


584 


INDEX. 


Orta,  Mte.  d'  69. 
Ospedaletti  103. 
Ospedaletto  21. 
Ostellato  3S6. 
Osteno  1S3. 
Ostiglia  263. 
Ottone  361. 
Oulx  2. 
Ovada  53. 
Ovolo,  Monte  407. 
Ozegna  42. 
Ozzano  Taro  370. 

Paderno  d'  Adda  167. 
—  Franciacorta  225. 
Padua  270. 
Paitone  22o. 
Palagnana  124. 
Palazzolo  217. 
Pdlaz'/.u'.lo  421. 
Palesieux  60. 
Pallanza  197. 
Palmanova  352. 
PaJmaria  118. 
Palmieri,  Villa  554. 
Pania  ddla,  Croce  124. 
Panicaglia  421. 
Paatena,  Val  256. 
Paradisino,  II  559. 
Paradise  12. 
Paraggi  111. 
Paratico  225. 
Paraviso  183. 
Pare  178. 
Parma  364. 
Parodi,  Monte  118. 
Parolini,  Villa  280. 
Partina  561. 
Passeriano  349. 
Pasture  179. 
P.subio,  the  269. 
Paterno  558. 
Patsch  19. 
Pavia  202. 
— ,  Certosa  di  162. 
PavuUo  376. 
Payerbach  23. 
Pazzallo  13. 
Pecorile  363. 
Psgli  95. 
Pel  ago  553. 
Pell  a  70. 
S.  Pellegrino  214. 
Pellesfrina  345. 
Penna,  Munte  114. 
Pcrarolo  343. 
Percia,  Cima  di  63. 
Perebecche  42. 
Pergine  21. 
Peri  22. 
Perinaldo  106. 
Perosa  Argentina  41. 
Perrero  44. 


Pescantina  22.  i 

Pescate  171.  ] 

Pescatori,  Isola  dei  199. 
Peschiera  236. 

—  d'Iseo  226. 
Pescia  449. 
Pesio  Valley  49. 
Petraia,  Villa  553. 
Petrole,  Monte  14 
Pettenasco  69. 
Piacenza  358. 
Piadena  209. 
Pianazzo  17. 
Piandelagotti  376. 
Plan  del  Re  45. 
Pi.indei'a  14. 
Pianello  179. 
Piano  182. 
Pianoro  407. 
Piantonetto,  Val  62. 
Piave,  the  348. 
Pia/.za  al  Sercbio  371. 

—  Brembana  215. 
Piedicavallo  65. 
Piedimulera  69. 
Piedmont  25. 
Plena  48. 

S.  Pier  d'Arena  94. 
S.  Piero  a  Orado  437. 

—  a  Sieve  421. 
St.  Pierre  58. 

d'Albigny  2. 
Pietra  Bismantova  361. 

Ligure  97. 
Pietramala  407. 
Pietraaanta  121. 
Pietre  Strette,  Passo  110. 
S.  Pietro-Berbenno    181. 

in  Casale  378. 

—  (Monte  Pirchiriano)  3. 
(near  Porlezza)  82. 
(Seveso)  171. 
in  Volta  345. 

Pieve  di  Cadore  348. 

—  di  Cento  37^. 

—  di  Ledro  239. 

—  MonsumTnano  450. 

—  di  Sori  109. 

—  di  Teco  50. 
Pievepelago  376. 
Pigna  106. 
Pinerolo  44. 
Pino  179. 
Fiona  ISO. 
Piotta  7. 
Piottino,  Mte.  7. 
Pircbiriano,  Mte.  3. 
Pisa  426. 

Arcbives  436. 
Baptistery  429. 
Botan.  Garden  434. 
Bridges  428. 
Campanile  430. 


Pisa: 
Campo  Santo  430.  xli. 
Cascine  S.  Rossore 

436/7. 
S.  Caterina  431. 
Cathedral  423. 
Certosa  437. 
S.  Domenico  436. 
English  Churcb  427. 
S.  Francesco  434. 
S.  Frediano  433. 
Galileo,  House  of  436. 
Gombo  437. 
History  of  Art  427. 
Leaning  Tower  430. 
Library  434, 
Loggia  de'  Banchi  436. 
Lungarno  428- 
S.   Maria    della    Spina 

436. 
S.  Micbele   in   Borgo 

435. 
Museo  Civico  434. 
Nat.    Hist.    Museum 

434. 
S.  Niccola  435. 
S.  Paolo  a  Ripa  d'Arno 

436. 
Palazzo  Agostini  435. 

—  dei  Cavalieri  433. 

—  del  Comune  (Gainba- 
corti)  43'j. 

—  Lanfranchi-Tosca- 
nelli  436. 

—  Lanfreducci-L'zpe- 
zinghi  435. 

!     Piazza     dei     Cavalieri 
433. 

—  del  Duomo  423. 
S.  Picrino  436 

S.  Piero  a  Grade  437. 

Post  Office  426. 

Sapienza  434. 

S.  Sepolero  438. 
!     S.  Sisto  433. 
I     Statue  of  Grand-Duke 
!        Cosimo  1.  433. 

—  of  Ferdinand  I.  435. 

—  of  Leopold  I.  434. 
S.  Stefano  ai  Cavalieri 

433. 

Theatres  427. 

Torre  dei  Gualandi  433. 

Tower  of  Hunger  433. 

Umberto  Prime,  Viale 
436. 

TJniversity  434. 

Via  delleBelle  Tori  436. 
Pisa,  Marina  di  437. 
Pisani,  Monti  437. 
Pisanino,  Monte  123. 
Pisciaviuo,  Monte  98. 
Pisogne  226. 


INDEX. 


585 


Pistoia  450. 
Piielli  118. 
Pizzighettone  20G. 
Plzzocolo,  Mte.  234. 
Planaval  (34 
Pliniana,  Villa  175. 
Po,  the  27.  51.  66.  190. 
378    et--. 

—  di  Primaro  373. 
Poggio  99. 

—  di  Berceto  371. 

—  a  Caiano  553. 

—  i!el  Giro  554. 

—  Renatico  378. 

—  Scali  561. 
Pognana  175. 
Puiana  269. 
Polesella  378. 
Policella,  Val  236. 
Pollenzo  50. 

S.  Polo  d'Enza  363. 
Poinbia  190. 
Ponale,  Fall  of  the  238 
Pont  dAel  61. 

—  d'Equilive  59. 

—  St.  Martin  55. 

—  Valsavaranche  59. 
Pontafel  24. 
Pontassieve  558. 
Poute  181. 

—  Alto  21. 

—  Canaveae  42. 

—  Concresjo  65. 

—  di  Brenta  269. 

—  di  Briolta  215. 

—  del  Diavolo  181. 

—  della  Maddalena  448. 

—  a  Mensola  557. 

—  a  Moriano  443. 

—  Nervia  106. 

—  deir  Olio  360. 

—  deir  Oreo  21. 

—  S.  Pietro  216 

—  a  Rifredi  553. 

—  del  Eoc  43. 

—  della  Selva  215. 

—  a  Serraglio  448. 

—  Stazzamese  124. 

—  Taro  362. 

—  Tresa  184. 

—  di  Veia  256. 
Pontebba  24. 
Pontecurone  2C6. 
Pontede.  imo  53. 
Pontedera  440. 
Pontelagoscuro  378. 
Pontenuovo  112. 
Pontenure  361. 
Pontepetri  403. 
Ponton  62. 
Pontreraoli  371. 
Poppi  562. 
Porciano  560. 


Pordenone  34S. 
Porlezza  182. 
Porrena  56'2. 
Porretta  403. 
Porte  Grandi  351. 
Portofino  111. 
— ,  Monte  di  109. 
|Portogruaro  352. 
Portomaggiore  386 
Porto  Ccresio  ISl. 

—  Mauri zio  99. 

—  Valtravaglia  195. 

—  Varalpombia  190. 
I —  Venere  118. 
jPorza  14. 
iPoschiavo  131. 
iPossagno  250. 
IPousset.  Punta  del  61. 

Pra  95.' 
IPracchia  408. 
jPrandaglio  228. 
iPrasco-Cremolino  52. 

Prato  455. 

—  di  Bertone  561. 

—  Fiorito,  Monte  449. 

—  al  Soglio  561. 
Pratolino  55T. 
Pratomagno,  the  559. 
Pratovecchio  560. 
Pre-St-Didier  59. 
Predore  226. 
Pre^lia  4. 

iPremeno  106. 

Prcmosellij  4. 
■Prese,  Le  181. 
'S.  Primo,  Monte  177. 

Prinla  50. 

Pr.'Cin'o.  Monte  124. 
IS.  Prospero  362. 

Provaglio  d'  Isen  225. 
|Pruno,  Monte  437. 
IPuccini,  Villa  454. 

Pugerna  13. 
iPusiano,  Lago  di  171. 
jPuzzolenta,  La  440. 

ftviarona  63. 
iQnart-Villefranche  57. 
It^uarto  107. 

— ,  Villa  553. 

Quarzano  17"). 

Quattro  Ca.stella  363. 

Querceta  121. 

(iuinto  al  Mare  107. 

—  (Val  Pantena)  256. 
S.  Quirico  53. 

—  di  Vemio  407. 

jRabuigne,  Glac.  de  63. 

Kaccolana  Valley  24. 

Eacconigi  45. 

Rancio,  Bucchetta  di  62, 
'Banzo  193. 


Rapallo  112. 
Rassina  562. 
Raticosa,     Passo     della 

407. 
Ravenna  409. 

Ai'.cademia  di  Belle 
Arti  413. 

S.  Agata  414. 

S.  Apollinare  in  Classe 
419. 

—  Nuovo  417. 
Archives  413. 
Archiepiscopal  Palace 

413. 
Baptistery  412. 

—  of  the  Arians  417. 
Basilica  Xjrsiana  412. 
Biblioteca   Comunale 

414. 
Byron's  HonSe  414. 
Cappella  di  S.  Pier  Cri- 

sologo  413. 
Cathedral  412. 
Cemetery  419. 
Classe  413. 
Colonna    di  Gaston  de 

Foix  420. 
Corso   Gius.  Garibaldi 

417. 
Dante's  Tomb  414. 
S.  Domenico  415. 
Farini's  Statue  411. 
S.  Francesco  414. 
S.GiovanniBattista416. 

—  Evangelista  417. 

—  in  Fonte  412. 

—  e  Paolo  415. 
Ippodromo  418. 
Library  414. 

S.  Maria  in  Cosmedin 
417. 

—  Maggiore  410. 

—  in  Porto  418. 
Fuori  4i9. 

—  della  Rotonda  418. 
Mausoleum    of    Galla 

Placidia  416. 

—  of  Theodoric  418. 
Municipal    Collections 

413. 
.SS.Nazario  eCelso416. 
S.  Orso  412. 
Palace    of    Theodoric 

418. 
Palazzo  Arcivescovile 

413. 

—  Municipale  412. 

—  Rasponi  414. 
Piazza  del  Duomo  412. 

—  Venti.Settembre4l2. 

—  Vittorio     Emanu- 
ele  412. 

Pineta,  La  420. 


586 


INDEX. 


RaTenna: 

Porta  Nuova  419. 

—  Serrata  418. 

Rocca  di   Brancaleom 
416. 

S.  Romualdo  414. 

Rofonda,  the  418. 

Spirito  fauto  417. 

S.  Teodoro  417. 

Torre  Comunale    412 

S.  Vitale  415. 
Recco  109. 
Recoaro  269. 
Reggio  362. 
Reggiolo  2G4. 
Regoledo  179. 
S.  Kemo  99. 
Eeseeto  123. 
Resegone,  Monte  170. 
Kesiutta  24. 
Revello  46. 
Revers  64. 
Rezzato  218. 
Rezzonico  179. 
Rheme,  Val  di  59. 
Rhemes-Notre-Dame  63 
Rlio  5. 
Ricco  115. 
Rigoli  441. 
Riola  407. 
Riomaggiore  116. 
Ripafratta  441. 
Riva  (Lake  of  Garda) 

237. 

—  Ligare  99. 

—  di  Palanzo  175. 

—  di  Solto  226. 

—  Trigoso  115. 

—  Valdobbia  72. 
Rivanazzano  205. 
Rivarolo  65. 
Rivera  8. 
Rivergaro  360. 
Riviera,  the  73.  282. 

—  di  Levante  107. 

—  di  Ponente  H. 
Rivoli  22. 
Roasenda  65. 
Rocca,  the  44. 

—  di  Garda  235. 
Roccavione  47. 
S.  Rocco  109. 
Roccolo,  Monte  234. 

—  Somazzi  13. 
Rodi  7. 
Rogoredo  162. 
Roletta,  Mte.  63. 
Romagnano-Sesia  65. 
Romano   (near  Bassano) 

280. 

—  (near    Treviglio)  217 
Romena  560. 
S.  Romolo  103. 


Roncaglia  209. 
Roncegno  21. 
Ronchi  351. 
Ronco  (Liguria)  53. 
—  (Val  Soana)  62. 
Rcncole  370. 
Rondinaio,  Mte.  408. 
Ronta  421. 
Rosa  2S0. 
Rosa     Monte    (Riviera) 

113. 
Rosazza  65. 
Rossano  280. 
Ro?sei  a  363._ 
Rossiglione  52. 
Rosso,  Monte  197. 
S.  Rossore  437. 
Rosta  3. 
Roteglia  376. 
Rotonda,  Villa  172. 
Rovato  218. 
Rovegro  198. 
Rovello  14. 
Rovereto  21. 
Rovigo  377. 
Rovina,  Lake  of  46. 
Rovio  16. 
Rubbia  351. 
Rubiera  364. 
S.  Ruffino  di  Levi  113. 
Ruinaz  59. 
Ruota  106. 
Ruta  109. 
Rufor  64. 
Ruvigliana  14. 

Sabbia,  Val  228. 
Sabbio  229. 
Sabbioneta  263. 
Sacile  348. 
Sacro  Eremo  561. 

—  Monte,  the  (near  Orta) 
69. 

(near  Varallo)  71. 

Sagra  di  S.  Michele, 

La  3. 
Sagrado  351. 
Sagro,  Mtnte  123. 
Sala  (Lago  di  Como)  176. 

—  (near  Lugano)  14. 

—  al  Barro  170. 
Salbertrand  2. 
Sale  delle  LangLe  51. 
Sale-Marasino  226. 
Salice  205. 
Salo  231. 

—  Carmine  229. 
Salsomaggiore  361. 
Saltino  558. 
Saluggia  66. 
Salurn  20. 
Salute,  La  194. 
Saluzzo  45. 


S.  Salvatore,  Mte.  13. 
S.  Salvi  557. 
Salviano  440. 
Sambeina,  Becca  di  63. 
Sambuco  47. 
Samoggia  364. 
Samolaco  18. 
Sampierdarena  94. 
Sanagra,  Val  182. 
Sangone  44. 
Sanremo  99. 
Santhia  66. 
Santino  198. 

Santuario    di    Belmonte 
42. 

—  di  S.  Ignazio  43. 
di  Sav<  na  51. 

—  di  Varallo  71. 

—  di  Vico  49. 
Saorgio  48. 
Sarbia  118. 
Sarnico  -25. 
Saronno  164. 
Sartirana  190. 
Sarzana  119. 
Sarzanello  119. 
Sassella  181. 
Sassi  41. 

Sassina,  Val  179. 
Sasso    near    Bordighera 

106. 

—  (Emilia)  407. 

—  di  Ferro,  the  196. 

—  Gordona  175. 

—  Grande  11. 

—  Rancio  179. 
Sassuolo  376. 
Savaranche,  Val  63. 
Savigliano  45. 
Savignano  408. 
Savogna  351. 
Savona  96. 
Savosa  14. 

Saxe,  Mont  de  la  GO. 
Scaffaiolo,  Lago  408. 
Scandiano  364. 
Scareglia  14. 
Scarena  48. 
Scarpnccia  560. 
Scheifling  23. 
Schignauo  457. 
Schio  269. 
Seborga  106. 
Secchia,    the   364.    372. 
Secchieta  f59. 
Sedrina  214. 
Segrino,  Lago  del  171. 
Selva  Piana  228. 
Semmering  23. 
Sempione  5. 
Senario,  Mte.  557. 
Sengie,  Colle  62. 
Serbelloni,  Villa  176. 


INDEX. 


587 


Seregno  167. 

Seriana,  Val  210.  215. 

Seriate  217. 

Senna  214. 

Serio.  Villa  di  216. 

Sermide  264. 

Sernio  181. 

Serra  (Emilia)  407. 

—  di  Morignone  181. 
— ,  Monte  4b7. 
Serravalle  Scrivia  53. 

—  (Tuscany)  450. 

—  (Tyrol)  22. 

—  (Venetia)  348. 
Serravezza  121. 
Serre'  64. 
Sertena,  Alp  14. 
S.  Servolo  ML 
Sesia,  Val  71. 
Sessa  15. 

Sesto  (near  Florence)  457. 

—  Calende  189. 

—  S.  Giovanni  165. 
Sestri  Levante  114. 

—  Ponente  95. 
Settignano  557. 
Settimo  Torinese  C5. 
Sevey  6i. 

Signa  441. 

Signori,  CoUe  dei  48. 
— ,  Valli  dei  269. 
Simplon  Eailwav  3. 

—  Tirnnel  3. 
Sirmione  231. 
Sismonda,  Signal  58. 
Soana,  Val  62. 
Soave  264. 
Solano,  the  560. 
Solarolo  4C9. 
Solbiate  Albiolo  170. 
Solda,  Val  14.  183. 
Soldano  106. 
Solferino  21S. 
Soliera  t64. 
Someraro  200. 
Somma  Lombardo  5. 
Sommariva,  Villa  176. 
Soncino  217. 
Sondrio  181. 
Sonvico  14. 

Soperga  41. 
Sopra  la  Croce  114. 
Soragna  370. 
Soragno  14. 
Sorengo  12. 
Soresina  217. 
Sori  109. 

Sort,  Colle  di  63. 
Sospello  48. 
Sotto,  Valle  di  181. 
Sottomarina  345. 
Spezia  116. 
Spiazzi  239. 


SpilimLergo  343. 

Spinetta  357. 

Spinone  216. 

Spliigen  17. 

Spotorno  97. 

Spresiano  348. 

Spnntone  di  S.  Allago 
437. 

Staffora,  the  205. 

Stalvedro  7. 

Stanghella  877. 

Stazione  per  la  Carnia  24. 

Stazzeiua  124. 

S.  Stefano   (Riv.    di   Po- 
nente) 99. 

—  Belbo  50. 

—  di  Magra  371. 

—  in  Pane  553. 
Stelvio,  the  182. 
Sterzing  19. 
Stia  560. 

S.  Stino  di  Livenza  351. 

Storo  -'39. 

Stra  278. 

Stradella  357. 

— ,  Alp  £60. 

Strambino  54. 

Stresa  200. 

Stnpinigi  42. 

Sturla  1C7. 

Sueglio  180. 

Snlzano  226. 

Suna  193. 

Superga,  the  41. 

Susa  44. 

Susegana  348. 

Suzzara  '~Qi. 

Taceno  179. 
Taggia  £9. 
Tagliamento,  the  24.  349. 

352. 
Taino  189. 
Taleggio  214. 
Tamaro,  Bronte  15. 
Tamlurr,  Monte  123. 
Taro,  the  £62.  370. 
Tartavalle  179. 
Tarvis  24. 
Tavazzano  358. 
Taverne  8. 
Tavernelle  265. 
Tavernola  226. 
Teglio  181. 
Tei.  Eecca  di  63. 
Telaro  110. 
Teleoeio,  Colle  di  62. 
Tellina,  Val  180. 
Tenda  47. 
— ,  Col  di  47. 
Tenno  23S. 
Terenzano  371. 
S.  Terenzo  118. 


jTertate-Varano  185. 

JTersiva,  Punta  di  61. 

Tesserete  14. 

Tesso,  the  43. 

Tezze  21. 

Thiene  269. 

ThuUe,  La  CO. 

Thusis  17. 

Tiarno  239. 

Ticino,  fhe7.68. 193.  202. 

Tignale  234. 

Tignet  63. 

Tinibras,  Monte  47. 

Tino  118. 

Tirano  181. 

Tivano,  Piano  del  175. 

Toce  69. 

Toiraoo  97. 

Tombolo  437. 

S.  Tommaso  22. 

Torano  I'iO. 

Torbole  235. 

Torcello  344. 

Torena,  Monte  216. 

Torino  27. 

Termini  223._ 

Tornavento  5. 

Tornico  196. 

Torno  175. 

Torre,  the  351. 

Torrebelvicino  269. 

Torre  Beretti  190. 

—  del  Lago  123. 

—  del  Mangano  162. 

—  d  Orlando  361. 

—  Pallavicica  217. 

—  Pellice  44. 

—  di  Vezio  178. 
Torrechiara  370. 
Torri,  Le  209. 

ToiTi  del  Benaco  235. 
Torriggia  175. 
Xorriglia  361. 
Tortona  206. 
Tosa,  the  4.  lt'3.  198. 
Toscolano  234. 
Tosi  568. 

Tournanche,  Val  56. 
Tradate  187. 
Traio  Glacier  61. 
Traona  180. 
Traversetolo  370. 
Traversette,  Col  de  la  45. 
Trecate  68. 
Tredici  Comuni  256. 
Tregnago  256. 
Tremezzina,  the  176. 
Tremezzo  176. 
Tremosine  234. 
Trent  20. 
Tre  Potenze  408. 
Tresa,  the  184. 
iTrescore  216. 


588 


INDEX. 


Tresenda  181. 
Tresivio  181. 
Trevano  14. 
Treviglio  217. 
Treviso  345. 
Trezzo  166. 
Trieste  23. 
Trigoso  115. 
Trimelone,  Island  236. 
Trino  66. 
Trobaso  198. 
Trofarello  .ol. 
Trompia,  Val  227. 
Tnrate  187. 
Turbigo  68. 
Turin  27. 
Accademia    di    Belle 
Arti  39. 

—  delle  Scienze  32. 
Aiuola  Balbo  35. 
Armoury  31. 
Arsenal  38. 
Biblioteca   Nazionale 

39. 
Botanical  Garden  40. 
Campo  Santo  41. 
Capp.   del  SS.  Sudario 

36. 
Cappuccini,  Monte  dei 

40. 
S.  Carlo  35. 
Castello  Jledioevale  40. 
Cathedral  36. 
Cavonr's  Monument  36. 
Cemetery  41. 
Chiesa  del  Carmine  37. 
Cittadella  37. 
Consolata,  La  37. 
Corpus  Domini  36. 
S.  Cristina  35. 
S.  Domenico  37. 
Emmanuel  Philibert's 

Monument  35. 
English  Church  29. 
S.  Filippo  35. 
Galleria  delF  Industria 

Subalpina  30 

—  Nazionale  35. 
Giardino  Pubblico  40. 

—  Reale  31. 

—  della   Citadella   37. 
S.  Giovanni  Battista36. 

—  Evangelista  38. 
Gran  Madre  di  Dio  41. 
Industrial  Museum  36. 
Library,  Royal  31. 

— ,  University  39. 
S.  Lorenzo  30. 
S.  Maria  del  Monte  40. 
Maschio     della     Citta- 
della 37. 
S.  Massimo  35. 
^Tole  Antonelliana  39. 


Turin : 
Monuments  30.  31.  32. 

3o.  36.  37.  38.  40. 

Maseo  d'Arte  applicata 

air  Industria  39. 

—  d'Artiglieria  38. 

—  Civico  di  Belle  Arti 
38. 

—  Industriale  35. 

—  Lapidario  39. 

—  Municipale  38.  39. 

—  del  Bisorgimento 
Ital.  39. 

—  di  Storia  Naturale 
32. 

Museum  of  Antiquities 
32. 

Nat.  Hist.  Museum  32. 

Palace  Garden  31. 

Palazzo  deir  Accade- 
mia delle  Scienze  32. 

—  Carignano  31. 

—  della  Cisterna  35. 

—  di  Citta  36. 

—  Madama  3  ). 

—  Pae.«aua  37. 

—  Reale  30. 

—  delle  Torri  36. 
Parco  del  Valentino  40. 
Piazza  Carignano  31. 

—  S.  Carlo  '66. 

—  Carlo  Alberto  32. 

—  Carlo  Emanuele  Se- 
condo  35. 

—  Carlo  Felice  38. 

—  Castello  30. 

—  Savoia  37. 

—  Sol  ferine  38. 

—  dello  Statuto  37. 

—  Vittorio  Emanuele 
Secondo  38. 

Primo  40. 

Picture  Gallery  33. 
S3.  Pietro  e  Paolo  38. 
Pinacoteca  33. 
Polytechn.  School  40. 
Pon'e  Umberto  Piimo 
40. 

—  Vitt.    Emanuele 
Primo  40. 

Porta  Palatina  36. 
Post  Office  28. 
Protestant  Church   29. 

33 
Rail.  Stations  27.  38. 
S.  Secondo  33. 
S.  Spirito  36. 
SS.  Sudario  36. 
Superga  41. 
Synagogue  38. 
Tempio  Valdese  38. 
Theatres  28. 
Tramways  23. 


Turin: 

University  38. 

Valentino,  11  40. 

Via  di  Po  30.  33. 

—  Roma  35. 

Victor  Emmanuel  II., 
Monument  of  33. 
Tuscany  423. 

(Jccellaria  111. 
Udine  349. 
Urio  17o. 

Urtier,  Vallone  d'  61. 
Useria,  Mte.  187. 
Usmate  167. 
U.'seglio  43. 
Ussel  56. 

Vado  £6. 
Vagli  123. 
Vaglia  421. 
V'aiano  407. 
Valdagno  269. 
Valdieri,   Termc   di   46. 
Valdoblia  72. 
Valduggia  68. 
Valeille,  Vallone  di  62. 
Valenza  190. 
Valganna  187. 
Valgrisanche  64. 
ValLirsa  269. 
Vallasco  Valley  46. 
Vallauri:!,  Mines  48. 
Vallebona  106. 
Valle  Christi,  Monasfero 

113. 
Vallecrosia  106. 
Valle  Mosso  65. 
Vallombrosa  559. 
Valmadonna  190. 
Valmadrera  170. 
Valmasca  48. 
Valmozz)la  371. 
Valnontey  63. 
— ,  Vallone  di  61. 
Valperga  42. 
Valprato  62. 
Valsavaranche  63. 
Valserine  Viaduct  1. 
Valtenese,  the  232. 
Valtournanche  56. 
Vaprio  d'Adda  217. 
Varallo  71. 
Vararo  196. 
Varazze  96. 
Varedo  171. 
Varenna  178. 
Varese  185. 
—  Ligure  115. 
— ,  Lago  di  186. 
Varesotto,  the  185. 
Varignano  238. 
Varigntti  97. 


INDEX. 


589 


Varone  23S. 
Varrone,  the  179. 
Varzo  4. 
Vassena  178. 
Ve,  Monte  116. 
Vegliasco  98. 
St.  Veit  24. 
Velleia  360. 
Velva  115. 
Vena  d"Oro  347. 
Venaria  Reale  43. 
Venasca  46. 
Venda,  Monte  376. 
Venegono  187. 
Venetia  241. 
Venice  281. 

Accadeniia  di  BellcArti 
307. 

Aldine  Press  206. 

S.  Alvjse  321.^ 

Antiquities  286. 

S.  Antonino  328. 

S.  Apollinare  334. 

SS.  Apostoli  322. 

ArchEeological   Mu- 
seum 303. 

Archives  336. 

Arco  Bon  325. 

Arsenal  329. 

Artists  286. 

Art  Objects  !?86. 

Ateneo  Veneto  305. 

Atrio  293. 

Banca  d'ltalia  317. 

Barche  2S3. 

S.  Bartolomeo  322. 

Baths  285. 

Beer  283. 

S.  Biagio  329. 

Boats  283. 

Booksellers  286. 

Bridge  of  Sighs  304. 

Ca  del  Duca  315. 

—  da  Mosto  318. 

—  d'Uro  318. 
Caf^s  283. 
Calle  Lunga  326. 
Campanile  of  St.  Mark 

297. 
Campo  S.  Angelo  306. 

—  S.  Bartolomeo  322. 

—  della  Carita  307. 

—  S.  Fosca  323. 

—  Francesco  Horosini 
306. 

—  SS.  Giovanni  e  Paolo 
326. 

—  S.  Margherita  338. 

—  S.  Maria   Formosa 
325. 

—  di  Marte  338. 

—  S.  Maurizio  306. 

—  S.  Polo  334. 


Venice  : 
Campo  S.  Samnele  315. 

—  S.  Toma  335. 

—  S.  Vitale  315. 
Canal  Grande  313. 

—  di  S.  Pietro  B30. 
Canals  294. 
Cannaregio,  the  3^0. 
Carceri  304. 
Carmini  338. 
Carnival,  the  288. 
Casa  Correr  319.  334. 

—  del  Petrarca  305. 
CassadiRisparmio  306. 
S.  Cassiano  331. 

S.  Caterina  324. 
Cemetery  Island  342. 
Chemists  287. 
Church  Services  2S6. 
Climate  287. 
Clock  Tovrer  297. 
Colleoni,  Statue  of  326. 
Consulates  285. 
Corso  Vitt.  Eman.  322. 
Corte  d'.Assise  318. 

—  del  Remer  318. 

S.  Cristoforo  Martire 

323 
Dentists  287. 
DigadiMalamocco293. 
Dogana  di  Mare  314. 
Doges,  Pal.  of  the  299. 
English  Church  286. 
Erberia  330. 
S.  Eustachio  319. 
Exhibition  of  Art  286. 
Fabbriche  Nuove   and 

Vecchie  318. 
S.  Fantino  3l5. 
S.  Felice  322. 
Ferries  283. 
Fish  Market  318. 
Fondaco   de"  Tedeschi 

318. 

—  de'  Turchi  319. 
Fondamenta  N  uo  vc  324. 

—  delle  Zattere  339. 
Forts  342. 

S.  Francesco  della 

Vigna  328. 
Frari   ;^35.  i. 
Frezzeria  305. 
Galleria  d'Arte  Moder- 

na  331. 

—  Manfredini  340. 
Garibaldi's  Statue  329. 
S.  Geremia  319. 
Gesnati  339. 
Gesuiti  324. 

Ghetto  Vecchio  321. 
S.  Giacomo  dair  Orio 
331. 

—  diRialto  330. 


Venice : 
Giardino  Papadopoli 
320. 

—  Reale  298. 
Giardini  Pubblici  329. 
S.  Giobbe  320. 

8.    Giorgio    dei    Greci 
328. 

—  Maggiore  340. 

—  degli  Schiavoni  328. 
S.  Giovanni  in  Bragora 

329. 

—  Crisostomo  322. 

—  Elemosinario  331. 

—  e  Paolo  326.  i. 
Giudecca,  the  341. 
S.  Giuliano  321. 

S.  Giuseppe  di  Cas- 

tello  330. 
Glass  Industrv  280.  343. 
Gobbo  di  Rialto  331. 
Goldoni's  Statue  322. 
Gondolas  283. 
Goods  Agents  285. 
Granaio,  Anticn  319. 
Grand  Canal  313. 
S.   Gregorio,    Abbazia 

314. 
Guides  288. 
History  283. 

—  of  Art  290.  xlviii  et 
seq.  liii.  Ix. 

Hotels  281. 

Istituto   di  Belle  Arti, 

Reale  313. 
Lace  286. 
Lagune,  the  292. 
Librarv,  Old  2E8. 

—  of  St.  Mark  298. 
Lido  341. 

S.  Lio  322. 

S.  Lorenzo  328. 

Madonna  dell'  Orto  323. 

—  del  Rosario  339. 
Manin's  Tomb  297. 

—  Monument  306. 
S.  Marciliano  323. 

S.  Marco  294.  xxxvi. 

S.  Marcuola  319. 

S.  Maria   del  Carmine 

—  Elisabetta  342. 

—  Formosa  325. 

—  dei  Frari  335. 

—  dei  Gesuiti  324. 

—  del  Gig'.io  3t6. 

—  Mater  Domini  331. 

—  deiMiracoli327.xlvi. 

—  della  Piela  305. 

—  della  Salute  339. 

—  Zobenigo  306. 

SS.  Maria  eDonato  343. 
S.  Martino  329. 


590 


INDEX. 


Venice : 
S.  Maurizio  306. 
Merceria,  the  321. 
S.  Michele  842. 
Mint,  the  298. 
S.  Moiafe  a'S. 
Money-changers  285. 
Mosaics  286. 
Munieipio  317. 
Mui-auo  343. 
Murazzi  293. 
Museo  Civico  332. 
Newspapers  286. 
Nuova  Fabbrica  293. 
Oratorio   del  CrociferJ 

324. 
Ornaments,  Venetian 

286. 
Ospedale  Civile  327. 
Ospedaletto    Church 

323. 
Ospizio  Marino  312. 
Painters  286. 
Palazzo  Albrizzi  334. 

—  deir  Ambasciatore 
315. 

—  Balbi  316. 
Valier  315. 

—  Barbarigo  316. 

—  Barbaro  315. 

—  Barozzi-Emo  314. 

—  Battaglia  319. 

—  Bembo  317. 

—  Bernardo  316. 

—  BiancaCappello324. 

—  Businello  317. 

—  de'CamerlenghiSl'i. 

—  Cappello-Layard 
316. 

—  Cavalli  315. 

—  Civran  318. 

—  Clery  320. 

—  Contarini    314. 

dal  Bovolo  306. 

Fasan  314. 

delle  Figure  316. 

degliScrigni  315. 

—  Corner  della  Ck 
Grande  314. 

Mocenigo  334. 

della  Regina  318 

—  —  Spinelli  316. 

—  Correr  334. 

—  Costanzo  316. 

—  Curtis  315. 

—  Da  Mula  314. 

—  Bandolo  317. 

—  Dario  314. 

—  Dona  316. 

dalle   R  )se    318. 

—  Ducale    (of    the 
Doges)  299. 

—  Erizzo  319. 


Venice: 
Palazzo    deir    Esposi- 
zione   Artistica   330. 

—  Falier  315. 

—  Farsetti  317. 

—  Ferro  314. 

—  Fini  314. 

—  Flangini  320. 

—  Fontana  319. 

—  Foscari  3:6. 

—  Franchetti  315. 

—  Garzoni  316. 

—  Genovese  314. 

—  Giovanelli  323. 

—  Giustiniani  315. 

(H6f.Europa)314. 

Lolin  315. 

Recanati  339. 

—  Grassi  315. 

—  Grimani   (San- 
michelij  317. 

(Serlio)  326. 

Giustiniani    316. 

a  S.  Toma  316. 

della  Vida  319. 

—  Gritti  314. 

—  Labia  320. 

—  Levi  315. 

—  Loredan  (15th  cent.) 
315. 

(17th  cent.)  315. 

(12th  cent.)  317. 

—  Malipiero  (Campo 
S.  Maria  Form.)  325. 

(Canal  Grande) 

315. 

—  Mangilli-Valma- 
rana  318. 

—  Manin  317. 

—  Manzoni-Angaran 
315. 

—  Michiel  del  Brusa 
318. 

dalle  Colonne  318. 

—  Mocenigo  316. 

—  Moro-Lin  316. 

—  Morosini  (Campo 
Morosini)  306. 

—  —  (Canal  Grande) 
318. 

Rombo  314. 

—  Nigra  320. 

—  Papadopoli  317. 

—  Patriarcale  297. 

—  Persico  316. 

—  Pesaro  319. 

—  PisaniaS.Pulo316. 
a  S.  Stefano  306. 

—  Querini  (Campo 
Querini)  325. 

(Canal  Grande) 

318. 

—  Reale  293. 


Venice  : 
Palazzo  Rezzonico  315. 

—  Sagredo  318. 

—  Sernagiotlo  315. 

—  Sina  315. 

—  Tiepolo  314. 
Valier  316. 

—  Treves  314. 

—  Trevisani  32i. 

—  Tron  319. 

—  Valeni  318. 

—  Vendramin  Calergi 
319. 

—  Venier  314. 

—  Volkoff3l4. 
Paleocapa's  Statue  306. 
S.  Pantaleone  337. 
Pensions  282. 
Pescheria  318. 
Photographs  286. 
Physicians  287. 
Piazza  of  St.  Mark  293. 
Piazzetta,  the  297. 

S.   Pietro    di   Castello 
330. 

—  Martire  313. 
Pigeons  294. 
Piombi,  the  304. 
S.  Polo  33 1. 

Ponte  deir  Accademia 
315. 

—  dei  Carmini  326. 

—  di  Ferro  315. 

—  della  Paglia  305. 
Ponte  di  Rialto  317. 

—  dei  Sospiri  304. 

—  alia  Stazione  320. 
Porta  della  Carta  299. 

—  del  Paradise  326. 
Post  Office  285. 
Pozzi,  the  305. 
Prisons  304. 
Private  Apartments 

282. 
Procuratie  293. 
Querini's  Statue  3-30. 
Railway  Station  '281. 
Reading  Rooms  286. 
Redentore  341. 
Restaurants  283. 
Rio  deir  Arsenale  329. 

—  S.  Giustina  328. 

—  S.  Giovanni  in   La- 
terano  326. 

Riva   degli    Schiavoni 

305. 
S.  Rocco  336. 
Ruga  di  S.  Giovanni 

334. 
Salizzada  S.  Moise  3iJ5. 
S.  Salvatore  321. 
S.  Samuele  315. 
Sarpi's  Statue  323. 


INDEX. 


591 


Venice : 

Savings  Bank  306. 
St.  Saviour's  341. 
Scala  aChiocciola  306. 

—  dci  Giganti  300. 

—  Minelli  306. 

—  d'Oro  300. 
Scalzi,Cliiesa  degli  3  -0. 
Sohulenburg's   Monu- 
ment 329. 

Sculptors  286. 
Scuola  delTAngeloCu- 
sfode  3^2. 

—  dei  Calegheri  835. 

—  dei  Carmini  333. 

—  della  Carita  307. 

—  di   S.  Giov.  Evang. 
336. 

—  dj  S.  Marco  327. 

—  di  S.  Rocco  337. 
Sea-baths  285 

S.  Sebastiano  333. 
Seminario  Patriarcale 

340. 
Shops  286. 

Sighs,  Bridge  of  30i. 
S.  Simeone  Grande  334. 

—  Piccolo  32U. 
S.  Spirito  340. 
S.  Stae  319. 
Steamers  284. 
S.  Stefano  306. 
Synagogue.  Spani3h321 
Telegraph  Otfice  285. 
Tempio  Israelitico 

Spagnuolo  321. 

Theatres  285.  305.306. 

S.  Tom^  335. 

Tommaseo's  Statue 
3ij6. 

Tourist  AgenlB  285. 

Traghetti  283. 

Trattorie  283. 

S.  Trovaso  339. 

Vegetable  Market  330 

Veronese,  Tomb  of  338. 

Via    Ventidue     Marzo 
305. 

Victor  Emanuel  II., 
Statue  of  31  '5. 

S.  Vitale  307. 

S.  Zaccaria  325. 

S.  Zanipolo  326. 

Zecca  298. 

S.  Zulian  321. 
Venosta  181. 
Ventimiglia  I06. 
Venzone  24. 
Vercelli  66.  ■ 
Vercurag  1  170. 
Verde,  Capo  99. 
Verdello  209. 
Verezzo  103. 


Vergato  407. 
Vergiatj  5. 
Verna,  the  561. 
Vernaute  47. 
Vernazz.a  116. 
Vernio  407. 
Verona  243. 

Aleardi's  Statue  243. 

Amphitheatre  249. 

S.  Anastasia  247. 

SS.  Apostoli  249. 

Arco  de'  Leoni  252. 

Arena  249. 

S.  Bernardino  250. 

Biblioteca    Capitolare 
243. 

—  Comunale  252. 
Canale  Industriale  250 
Casa  Mazzanti  246. 

—  dei  Mercanti  246. 
Castel  S.  Pietro  255. 

—  Vecchio  249. 
Cathedral  247. 
Cemetery  254. 
City  Walls  251. 
Corso  S.  Anastasia  247. 

—  Cavour  249. 

—  Porta  Borsari  249. 

—  Vitt.  Emanuele  250 
Dante's  Statue  247. 

S.  Eufemia  249. 
S.  FermoMaggiore  252. 
Garibaldi's  Statue  247. 
Giardino  Giusti  254. 
S.  Giorgio  inBraida255. 
S.  Giovanni  in  Fonte 
248. 

—  in  Valle  255. 
Guardia    Vecchia  260. 
Juliet's  Tomb  250. 
Loggia,  La  246. 

S.  Loren/.o  249. 
Lungadige    Panvinio 

241. 
Mallei's  Statue  247. 
S.  Maria  Antica  247. 

—  in  Organo  254. 

—  della  Scala  252. 
Municipio  25). 
Museo  Civico  263. 

—  Lapidario  250. 

SS.  Nazzaro  e  Celso 254. 
Palazzo  Bevilacqua 
249. 

—  dei  Canonici  248. 

—  Canossa  249. 

—  del  Consiglio  246. 

—  de'     Giureconsulti 
246. 

—  Giusti  254 

—  Guastaverza  249 

—  Lave/./.ola  Pumpei 
253. 


Verona : 

Palazzo  MafTei  246. 

—  Malfatti  249. 

—  de'  Medici  249. 

—  Ponzoni  249. 

—  Portalnpi  249. 

—  della  Ragione  246. 

—  Trezza  246. 

S.  Paolo  di.  Campo 

Marzo  254. 
Piazza  Bra  249. 

—  Erbe  24'J. 

—  dei  Signori  246. 

—  Vitt.  Eman.  249. 
S.  Pietro   Martire  248. 
Pinacoteca  253. 
PonteAleardi   250. 

—  Garibaldi   249. 

—  delle  Navi  253. 

—  della  Pietra  255. 
Porta  de'  Eorsari   249. 

—  S.  Giorgio  256. 

—  Nuova  250. 

—  del  Palio  250. 

—  Stuppa  210. 

—  Vittoria  254. 

—  S.  Zeno  252. 
Portoni  250 
Post  Office  244. 
Prefettura  246. 
Roman  Theatre  255. 
Sanmicheli's  Statue 

250. 

S.  Sebastiano  252. 

SS.  Siro  e  Libera  255. 

Sto.  Stefano  255. 

Teatro  Filarmon.  250. 
I     Tomb  of  Juliet  250. 

Tombs  of  the  Scaligers 
247. 

S.  Tommaso  253. 
■     Torre  del  Municipio 

246. 
I     Town  Hall  216. 

Tribnna  246. 

Tribunal  246. 

Veronese's  Statue  243. 

Veronetta  263. 

Vescovado  248. 

Via  Cappello  252. 

—  Leoni  252. 

—  Nuova  252. 

—  Pall  one  250. 

—  S.  Sebastiano  252. 
Victor  Emanuel,  Sta- 
tue of  249. 

Volto  Barbaro  247. 

S.  Zeno  Maggiore  251. 
xxxviii. 
Verona,  Chiusa  di  22. 
Verrca  55. 
Verruca,  La  437. 
Verugoli,  Monte  118. 


592 


INDEX, 


Verzasca,  the  191. 
Verzi  97. 
Vestena  256. 
Vestone  229. 
Vetta  16. 
Vezio  178. 
Vezzano-Ligure  371. 
Vezzolano,  Abbazia  dl  51. 
Via  Flaminia  ^55. 
Viadana  218. 
Viareggio  r.il. 
Vicentina,  Villa  352. 
Vicenza  265. 
Vienna  23. 
Vievula  47. 
Vieyes  61. 
Viganello  14. 
Vigese,  Monte  407. 
Vigevano  ISO. 
Viggiii  187. 
S.  Vigilio  235. 
Vignola  3T6. 
Vignole  22. 
Vigo  4U8. 
Vigoni,  Villa  178. 
Villa  (near  Lucca)  449. 


Villa  d'Alme  213. 
Villadossola  69. 
ViUach  24. 
Villafranca  di  Verona 

257. 
—  Bagnniie  371. 
Villamaggiore  162. 
Villanova  Mundovi  49. 
Villar  44. 
Villaatellone  49. 
Villazzano  21. 
Villeneuve  59. 
Vimeroate  166. 
Vinadio,  Bagni  di  47. 
St.  Vincent  56. 
Vinci  4-tl. 
Vincigliata  657. 
Viozene  50. 
Vintimille  106. 
Virginia,  Isola  1S6. 
Visentin,  CoUe  347. 
Viso,  Monte  45. 
Visone  52. 
S.  Vitale  269. 
S.  Vito  al  Tagliamento 

352. 


Vitriola  376. 
S.  Vittoria  50. 
Vittorio  348. 
Vittuone  68. 
Viii  43. 
Vizzola  5. 
Vlon,  Becca  di  56. 
Vobarno  228. 
Voghera  205. 
Vogogna  4. 
Volpino  227. 
Volterra  440. 
Voltorre  186. 
Voltri  95. 

Waidbrnck  20. 
Waldensian  Valleys,  the 

44. 
Wasen  7. 

Zeda,  Monte  198. 

S.  Zeno  di  Jluntagna  235. 

Zerbion,  Mt.  66. 

Zoagli  113. 

Zogno  214. 


Leipzig:  Printed  by  Breitkopf  and  Hartel.